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Old 11-13-2011, 10:47 PM   #126
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Finished listening to this a few hours ago. And on first impression I have to say it's another great score by Elfman. I love Atom's theme. It still remains in my head as I type this. "Charlie Trains Atom", "Meet Atom",Safe With Me","Atom Versus Twin Cities", "Bonding", "Parkway Motel", "This Is A Brawl", "You Deserve Better", "Into The Ring""Final Round" (one of the best cues this year) and "People's Champion" are some of the highlights. But the score overall is great. This is definitely one of the best scores this year, imho. Can't wait to listen to it again.

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Old 11-19-2011, 11:09 PM   #127
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The other 2007 movie Elfman scored was for Peter Berg's underrated action-thriller The Kingdom. It's about a team of FBI agents investigating a terrorist attack on Americans on Saudi Arabian soil. It's a great film that does become a typical action movie by the third act. But it's still well made and has a stong message at the end. With strong and believable peformances from the cast.

It was interesting seeing Elfman hired as composer since Berg's usual choices are the generic MV/RC composers. But it was also a good opportunity for Elfman to write music for a movie in a genre he doesn't get offered that often. And Elfman was more than up for the task.

Elfman took a lot of heat from this score and still does. Even Elfman fans hate on it. Which I don't get. I was happy that Elfman got to stretch his music vocabulary. And not writing a score for the usual Superhero/Tim Burton/Dark Fantasy movies (as good as those are). I've heard people complain that it's too synth heavy. Which doesn't make since what other way Elfman could've scored The Kingdom that was appropriate. Should he have scored it like he scored Batman , Spider-man, Darkman, Beetlejuice, Pee Wee, Nightbreed, Mission Impossible, or Charlotte's Web? Come on. Elfman's approach for The Kingdom was the best approach. Any other direction would've resulted in the score getting rejected. Some have even complained that it's mostly sound design. There's plenty of MV/RC scores that are sound design. The Kingdom compared to those sound like a symphony.

Speaking of MV/RC. Then there's those who complain and say the score is MV/RC-esque. So Elfman uses synthesisers the score is automatically MV/RC? So for the DCAU DTDVD movies that have synth driven scores are MV/RC scores too? They use synth and the like so I guess that automatically means they're MV/RC scores too. If The Kingdom is an MV/RC score then it's the best MV/RC score not written by an MV/RC composer. If anything bits of the score have a more Explosions In The Sky vibe (mainly during the dramatic moments) than a MV/RC vibe.

It baffles me how some (even Elfman fans) say this is unlistenable. It's Elfman getting out of his comfort zone and writing a score that is appropriate for the film. Some consider this score to be among his worst, which is fine that's their opinion, but to say it's unlistenable is horse manure. I've listened to The Kingdom many times and never am bored by it or want to rip my ears off. The album is well paced and is a great listen. In fact I prefer this to his lackluster Meet The Robinsons score in the same year. Nothing unlistenable about it.

"The Kingdom Titles" is a very distraught cue that's heavy with the synth but gets it's point across about the origins of the relationship between the US and Saudi Arabia. The music is really telling a story and feels crucial to what's being shown on screen. It describes perfectly what the relationship between US and Saudi Arabia is like politically, imo. And not just making noises like some think. It also sets the tone of the film perfectly with hints of a middle eastern sound. You can hear one of the recurring themes (the main theme or motif) in this track that'll be heard throughout the album. This main title is up there with his Dead Presidents main title, imo. Which is a compliment.

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"Waiting" is a very powerful track. It really captures the emotion of the characters (especially Commander Faris'). I believe Berg originally tracked a cue by the Explosions of the Skys and lost it. But then had Elfman emulate their sound and style while at the same time being an original Elfman piece. It's a very strong piece and very effective in the film.

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"To The Prince's" is short but funky and hip track. You can tell this track is all about heading towards a destination. Which is "to the prince's" in this case. It makes good use of the main theme here as well. Probably going to need headphones for the beginning b/c you can't hear the first 3 seconds that good. At least I couldn't anyway.

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"Digging Deep" is another short but great track that uses the main theme to good effect throughout. As the team is getting closer to figuring out how the bomb was made.

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"Friendship" another track that's in the vein of EITS. Which was used in the end credits. This is a very powerful, peaceful, hopeful, and touching track. The title sums it up well. Like it symbolises the freindship that Fleury (Jamie Foxx) and Comamnder Faris developed throughout the film. It also (imo) sums up the hopeful relationship between the US and Saudi Arabia. I can't believe some people actually think this is unlistenable.

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"The Chase" kicks off when Leavitt (Jason Bateman) gets kidnapped after the terrorist failed to kill Fleury and his team. This track is very synth heavy, chaotic, raw, nasty, suspensful and even unsettling. Really capturing the tension of Fleury's team trying to save Leavitt. As well as Leavitt's struggles of escaping from the terrorists clutches. As well as the terrorists trying to escape from Fleury and his team to their dangerous neighborhood. Despite what people think the cue is very well put together. And really adds to the suspense and tension in the scene.

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"The Sales Pitch" is a good track that begins softly as it builds up the main theme during the scene where Fleury pitches his plan to the Prince and how he'd benefit from it. I think. It's been a few months since I've last seen it. But Fleury pitches his plan and the Prince agrees and lets them investigate the bombing. The track goes out with the theme reflecting the Prince's approval. It really captures the atmosphere and situation the team is in towards the end of the cue.

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"Finale" is easily the best track. It's also very EITS-esque. It really gets the message across at the end. It's very powerful and even hopeful in someways. It leaves an impression just like the scene itself at the end did. It asks the question that if one day will there ever be peace between Arabs and Americans? It also mourns to one of main characters who've died. I can't help but think about Iraq and the US soldiers that are fighting out there everyday when I hear this. I feel like in some ways this cue honors those that fought and died protecting mine and the US' freedom. It has me thinking in the end as did the film. Funny thing I've heard that Zimmer ended up tracking this in Rango. Even he knows the greatness of this cue.

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I just don't get why this score gets a lot of hate. To me this is more than just sound design and its better than a lot of MV/RC scores. Which would've been generic and predictable if Zimmer, Jablonsky, Gregson-Williams, Djawadi, and the like had written this score. But I bet if Zimmer wrote the score the exact same way Elfman did. People would praise it. Whatever. I'm happy that Elfman got the opportunity to write a score like this. It's unique and fresh. It's also very underrated, imo. And doesn't nearly deserve all the criticism it gets. It's probably the most underappreciated Elfman score of the last decade (even more than his Spider-man scores). I think the album is paced almost perfectly. I'm never bored. In fact it makes me want more after every listen. I also like how this score shows Elfman's versatility. Everybody always complain about his scores sounding the same, and that his fantasy and superhero scores are predicatble. And thinks he never gets out of his comfort zone. When he does get out of his comfort zone especially the way he did for The Kingdom. People still complain. As well as find excuses to bash Elfman. Funny how that works.

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Old 11-25-2011, 04:50 AM   #128
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Wow. Just found out that La La Land Records will be releasing a limited edition of Danny Elfman's score to the 1988 Bill Murray christmas comedy "Scrooged". Just in time for the holidays. It's a premiere release and is part of their 4 Black Friday releases for their final batch of limited edition cds of the year. In case you're interested it'll cost 19.98. And is limited to 3000 units. And will be availiable for order Tuesday Nov. 29 1pm PST. With Elfman's (Excellent!) Real Steel, Cirque Du Soleil: Iris (which I still have yet to hear) and now Scrooged. It's a great time to be an Elfman fan.



http://www.filmscoremonthly.com/boar...ID=1&archive=0


Last edited by Elevator Man; 11-25-2011 at 01:48 PM.
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Old 12-06-2011, 10:09 AM   #129
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Looks like Elfman won't be scoring The Hunger Games anytime soon. B/c of scheduling conflicts. JNH will take over for scoring duties instead.

http://filmmusicreporter.com/2011/12...-hunger-games/

Can't say I'm heartbroken b/c Elfman was the only reason I was going to check it out. So now that he's gone. I could care even less about this movie. Though I do think Elfman would've came up with something interesting and unlike anything's he's done before. But oh well. I'm sure JNH will come up with something interesting. Eventhough he's been in a bit of a slump as of late, imho.

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Old 12-19-2011, 10:47 PM   #130
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Originally Posted by Elevator Man View Post
Wow. Just found out that La La Land Records will be releasing a limited edition of Danny Elfman's score to the 1988 Bill Murray christmas comedy "Scrooged". Just in time for the holidays. It's a premiere release and is part of their 4 Black Friday releases for their final batch of limited edition cds of the year. In case you're interested it'll cost 19.98. And is limited to 3000 units. And will be availiable for order Tuesday Nov. 29 1pm PST. With Elfman's (Excellent!) Real Steel, Cirque Du Soleil: Iris (which I still have yet to hear) and now Scrooged. It's a great time to be an Elfman fan.



http://www.filmscoremonthly.com/boar...ID=1&archive=0

Finally got around to listening this. And man what can I say. This is the score that set up his "fairytale" sound. This is the score that introduced his "La La La" choir trademark. You can hear hints of this in Edward Scissorhands, BR, and TBTNBC, which all deal with christmas. What's also amazing you can hear Elfman evolving from his mid 80s scores to his early 90s scores. You can hear hints of both of his Pee Wee scores, The Jar, Back To School, Beetlejuice, and a little of Forbidden Zone. So those that are big fans of the old school Elfman should check this out. It's dark, quirky, twisted, fun, and a bit touching.

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Old 12-19-2011, 11:05 PM   #131
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Default Re: Danny Elfman Appreciation Thread!

I was watching Scrooged last week without even knowing he did the score and Could immediately tell after watching for about 5 minutes.

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Old 12-20-2011, 12:20 AM   #132
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Anyone else like his score for Mars Attacks! (?)

The opening scene is full on, one of the best orchestral sequences I've heard.

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Old 12-20-2011, 06:34 AM   #133
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Default Re: Danny Elfman Appreciation Thread!

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Anyone else like his score for Mars Attacks! (?)

The opening scene is full on, one of the best orchestral sequences I've heard.

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I simply LOVE it! When it was out I bought the CD and listened to it to no end.

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Old 12-20-2011, 10:05 AM   #134
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Yeah I own the La La Land expanded reissue of it as well as the one they released in the Burton/Elfman box. Both are still missing a few cues from the movie. This is probably Elfman's most wackiest score for Burton. And that's a compliment.

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Old 12-22-2011, 12:53 PM   #135
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First it was "Serenada Schizophrana", then "Rabbit & Rouge" and now "Iris Cirque Du Soleil' that showed Elfman's talents outside of film scores. I've listened to this twice now. This is one of Elfman's most creative scores. It really makes me curious to check out how the music works in the actual show. Every track has something special about them. As well as tells a story (musicallly). You can tell Elfman spent 3 years working on this project. It really shows in the music. I really enjoyed "Buster's Big Opening", "Kiriki Film", "Kiriki", "Patterns", "Pellicule-Part 1 And II", "Movie Studio", "Flying Scarlett", "Film Noir/Pursuit", "Rooftops", "Scarlett Balancing", and "Iris Finale And Bows". This is probably the soundtrack of the year for me. It's a real work of art. And a huge acheivement for Elfman. What A-list film composer writes (let alone have an opportunity to write) music for a Cirque Du Soleil show. I can't wait for when he starts writing chamber music like he plans to after "Frankenweenie" next year. Hopefully this'll help him and music labels record and release his "Rabbit and Rouge" score he did back in '08'. I would love to hear that one as well.

This year has been a great year for Elfman and his fans imo. The Elfman/Burton box (after a few delays) came out in April finally and though the price tag on it was "outrageously ridiculous" it was worth every penny, imo. For the music and book alone. Then Elfman's "Real Steel" was (and still is) awesome and added a lot to the movie that wouldn't have been as effective without it, imo. One of the best scores this year. Then La La Land Records released Scrooged, which never got a score release until now. Which is awesome as well and the score is an underrated gem that set the benchmark to many of his fantasy score in the early 90s.Then he tops it all with his Iris score. What an amazing year for Elfman. I can't appreciate this man's music enough. The only score that wasn't released this year that Elfman wrote was to Gus Van Sant's "forgotten" indie art film "Restless". Besides that still was great year for Elfman and his fans.

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Old 02-09-2012, 05:34 PM   #136
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The nominations for IFMCA awards are in and it looks like Elfman has 3 nominations.

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

• CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• DRIVE, music by Cliff Martinez
• MISSION IMPOSSIBLE – GHOST PROTOCOL, music by Michael Giacchino
• REAL STEEL, music by Danny Elfman
• RISE OF THE PLANET OF THE APES, music by Patrick Doyle

FILM MUSIC COMPOSITION OF THE YEAR

• “The Adventure Continues” from THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• “George Valentin” from THE ARTIST, music by Ludovic Bource
• “Captain America March” from CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• “Final Round” from REAL STEEL, music by Danny Elfman
• “The Homecoming” from WAR HORSE, music by John Williams

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE

• THE BLACK HOLE, music by John Barry; album produced by RandyThornton and Douglass Fake, liner notes by Jeff Bond; album art direction by Steve Sterling (Disney / Intrada)
• THE DANNY ELFMAN & TIM BURTON 25TH ANNIVERSARY MUSIC BOX, music by Danny Elfman; album produced by Danny Elfman and Tim Burton; liner notes by Jeff Bond and Danny Elfman; album art direction by Matt Taylor (Warner Bros Records)
• DAYS OF HEAVEN, music by Ennio Morricone; album produced by Lukas Kendall and Craig Spaulding; liner notes by Lukas Kendall and Jeff Bond; album art direction by Joe Sikoryak (Film Score Monthly)
• GREMLINS, music by Jerry Goldsmith; album produced by Mike Matessino and Bruce Botnick; liner notes by Jeff Bond and Mike Matessino; album art direction by Joe Sikoryak (Film Score Monthly)
• MASADA, music by Jerry Goldsmith and Morton Stevens; album produced by Douglass Fake and Roger Feigelson; liner notes by Jon Burlingame; album art direction by Joe Sikoryak (Intrada)

http://filmmusiccritics.org/2012/02/...inations-2011/

Glad to see Elfman's Real Steel nominated. I think it is one of the best scores of 2011. I'm also happy they nominated "Final Round" as one of the best film compositions of 2011. I believe it's one of the best cues of last year as well. I'm also happy about the DE/TB 25th Anni. Music Box getting a nomination. I have a feeling that Elfman won't win any of the awards though. But I'm glad the IFMCA gave him some recognition.

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Old 02-11-2012, 04:02 PM   #137
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Standard Operating Procedure is one of four scores Elfman wrote in 2008. It’s also his first documentary he scored I believed. It was directed by academy award winner Errol Morris. The documentary is about the abuse and torture of suspected terrorists at the hands of US forces at the Abu Ghraib prison. The film was barely in theatres and is hardly ever on TV. I still have yet to see it. So I can’t comment on how Elfman’s music works in the context of the film. What’s interesting is Elfman saw the film but was advised by Morris to write what he felt about the film musically. So he had to score the film off memory and what he felt about the subject matter. Instead of scoring to picture. Another interesting tidbit is that Morris went to Elfman for this film instead of his usual colaborator Phillip Glass, who’s also one of Elfman’s idols. The score even has hints of Glass in it.

“S.O.P Theme #1: Standard Operating Procedure” is the first track. It’s very touching, emotional, and haunting. It feels like the track is telling the listener that the film is very important. Like the music is conveying the message that the film is giving. Imo, it really grabs your attention and imagination especially for those who have yet to see the film.
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“The Infamous Pyramid” is another track (the 2nd) that’s gripping. The track feels very cautious and unsettling. I can tell by listening that it’s making a point with the music. I can’t really describe it.
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“Photos” is a spooky track. It’s not really the “spooky” Elfman’s known for. It’s very Glass-esque. It almost sounds like something you’d expect to hear at a horror amusement park. That’s not an insult. It’s a very strange track that intrigues the ears and mind. If this music is accompanying some photos in the doc. The images must be really ugly and gruesome.
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“The Shooter” is a track that I can’t really descibe especially out of context with the film but it’s a very moving track. That’s doing a lot of things musically. I’m assuming the music is accompanying witnesses talking about “the shooter”? It’s very intriguing track.
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The other cues that I wanted to talk about and post YT videos of aren’t on YT for reasons unknown. But I’ll talk about those tracks anyway.

“What Is Going On Here?” is another track that brings concern and significance. It’s starts off frantically.The cue feels like it’s trying to figure out whatever it is that is going on in the doc. especially if the track is asking the question.

“Gilligan” is a more serene track that’s still compelling and sentimental. The S.O.P. Theme coming towards the end of it keeps the film’s message intact.

“The Table Breaker” is a very creepy track. And though It’s short it’s very haunting and Glass-esque. It stays with you long after the track is done.

“Oli’s Lullaby” sounds exactly like a lullaby. Though it sounds cute and precious there’s something quirky and odd about it especially dealing with the subject matter in the doc. It’s one of the few tracks that’s very Elfman-esque.

Overall I think the score is a masterpiece and should’ve been nominated for an Oscar instead of Elfman’s other score that year (Milk, which was also great).I guess the Oscars disqualified it b/c of him adapting 2 cues from his Serenada Schizophrana score. S.O.P. is a very creative, haunting, complex, and inventive score with a touching and striking main theme (S.O.P. theme). It’s also out of his comfort zone and new territory for him. It even shows Elfman’s versatility. The score grabs my attention and at times even demands it. I think it’s very underrated. I think a lot of people (even some Elfman fans) aren’t familiar with it.

Some listeners might not like how quirky and depressing some of the tracks are. It might not be some’s cup of tea either.Some have complained about the score’s use in the film. But I find the score very thought provoking with a clear message. I believe the score conveys the message the movie is bringing very well. Though I have yet to see it. I also think this is his most creative and original score that year. Definitely recommended to those aren’t familiar with it. After listening you might be surprise it being Elfman or by how gripping it is. And the movie (which also seems overlooked)might peak your interest if you haven’t seen it yet.

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Old 02-11-2012, 04:12 PM   #138
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Wanted was Elfman’s 2nd score of 2008. The over-the-top shoot-em-up action thriller directed by Timur Bekmambetov and loosely based on the graphic novel by Marc Millar. The movie deals with(if you haven’t seen it)a mild manner office worker name Wesley Gibson (James McAvoy) who finds out his father, who was killed, was a professional assassin. And that he shares the same superhuman abilities his father has. Gibson then joins the Fraternity( a fraternity of assassins) to be an assassin and to control and harness those abilities. As well as, to avenge his father’s murder. The movie is dumb but fun and entertaining.

Elfman signed on not b/c of the movie itself, but b/c of Timur. Elfman was a fan of his Night Watch and Day Watch movies, which were both foreign films. Wanted being Timur’s American movie debut.

The first track “The Little Things”, which is a song written and performed by Elfman himself. The studio requested for the film to have a song. Elfman agreed to write the song and music. But he didn’t expect to sing it, which Timur suggested Elfman do. Elfman even performed the song in Russian for the Russian versions of the movie. The song itself is awesome. It was cool to hear Elfman write and perform a song that wasn’t for a Burton movie for a change. It’s not quite Boingo. But it’s still great. It fits the movie perfectly. Words can’t describe what I felt when I heard Elfman singing and just hearing the song in general.

To some this is the highlight of the album. As amazing as that song was or is. I still think the score has more to offer. I do think “The Little Things” was the best song I heard that year. Though, I don’t listen to many songs excluding Boingo especially current songs. Oh and Elfman sounded great and not a day over 50. I also like to add that Wesley’s theme in the score is used for the beat of the song. It (Wesley’s theme)was also used as a ringtone in the film.
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The 2nd track “Success Montage” is another track people believe is the highlight of the album. Again it’s great but I don’t think it’s the best thing on the album. It sounds very Russian, quirky, and even uplifting, which is fine. B/c Wesley is learning throughout the montage how to be a professional assassin and is getting better at it one step at a time. The music reflects it perfectly. I also like the use of Wesley’s theme. It really captures the dorky side of Wesley’s character. It gets more heroic and brave as Wesley gets better and better at learning. The music is as motivating as Wesley is to be an assassin. I love the techno beat towards the end also. The cue gets more exciting and surprising with the directions the music goes. It’s a fun track but Elfman’s always great at scoring montages. This is right up there musically with his best montages.
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“Fraternity Suite” is kind of an unsettling and grim track that captures Wesley’s first impressions of the Fraternity. It’s also the Fraternity’s theme. It has a lot of chanting in it. But I remember being surprised by it b/c I don’t ever remember Elfman writing anything like that before. I wonder if the chant is saying anything of importance and what language is the chant in? Some people have compared this track to Zimmer’s chant writing. I guess I can understand that since Zimmer’s known for his chant writing. But I never thought of Zimmer when I heard this. Since people have brought it up I think this does rivals Zimmer’s chant writing though. That’s not an insult. It’s a fierce track that shows Elfman’s range. It fit’s the tone and approach Timur wanted for the Fraternity perfectly.
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“Fox’s Story” is a dramatic and touching track that gets into Fox’s tragic childhood past. I like the use of the vocals in this track. It adds a certain innocence to Fox’s childhood in the movie. This track also brings a lot of weight to the characters and story musically. It helps you sympathize with Fox’s character. I also like the chorus during the reveal of Fox’s scars on her neck revealing that Fox was the little girl. The track goes out with a bang when the electric guitar kicks in towards the end. A nice track showing there’s a little more than explosions and crazy car chases in this movie.
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“Exterminator Beat” is exactly that. A beat. A “hip” and “cool” beat that I don’t think made the film. It’s still cool. I like the use of Wesley’s theme in it. It feels like a montage of Wesley and the fraternity setting up a hit on somebody and going over the plan together. That’s what I got from it anyway. It’s an awesome and cool track that I like to hit repeat on.
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“Rats” is a cue to a montage of Wesley luring rats from all over with (of all things) peanut butter and into a dump truck armed with explosives to wage his personal war on the Fraternity for lying to him about his father. It starts off calm but serious and builds up into a fun and wacky cue as it captures the insanity and mayhem the rats are ensuing in the scene as they attack the Fraternity. It’s an amusing track that’s gets more and more exciting as it builds up to the explosion of the rats. Elfman really captures the paranoia of the situation with humor, imo. Wesley’s theme carries the track quite well.
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“Fox’s Decision” is sad and touching track that again captures Fox’s innocence. It almost feels ethnic with the vocals. The use of the Fraternity theme feels as if it’s coming to a close, which makes sense in the film. It really captures Fox’s courage and sacrifice she makes in the film. It’s a dramatic track that really focus’ on her decision than the body count on screen.
VIDEO-CLick to Watch!:


Overall I enjoyed every track on the album. I won’t go any further on the tracks. It’s a great listening experience. The CD’s neatly paced. It never gets old when listening to it. I think it’s awesome to see Elfman taking on a movie like this. Usually a project like this would go to an MV/RC composer. Thank goodness it didn’t. Speaking of MV/RC some people complained that the score sounded too MV/RC-esque. Please. This score is better than most MV/RC action scores, imo. It has more going for it than just sound design. And it never feels generic. Just because Elfman blends synthesizers with orchestra doesn’t mean it’s MV/RC. That’s why some were turned off by it. I think Elfman did an excellent job blending synthesizers with the orchestra. It added a certain edge and rawness to it. It fit the attitude and tone of the film perfectly. This is probably one of Elfman’s most adrenaline pumping and testosterone driven scores, imo. It was also the best action score that summer and year. Though, Williams’ Indy 4, Giacchino’s Speed Racer, and Powell’s Hancock were awesome too. Nobody expected a great score to what appeared to be a dumb Angelina Jolie action movie. But it added a lot to the film and made the score more than an action score, imo. It also has a very catchy theme for the Wesley character that goes through a workout on the album and film. And even a kick butt song that deserved some award recognition.

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Old 02-11-2012, 04:19 PM   #139
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Hellboy II: The Golden Army was Elfman’s 3rd score that year. Guillermo Del Toro returned to direct . This time Hellboy and the B.P.R.D must face an evil prince from unleashing the Golden Army from destroying all of mankind.

I remember the news back in June of ‘07’ that Marco Beltrami, who scored the original and also a regular collaborator of Del Toro’s on his Amercan films at least, wouldn’t return to score HB2, but Elfman would instead. I was quite stunned by the news. Beltrami’s original HB score was great and also underrated. I liked the themes he came up with for the characters especially the HB theme and Liz’s theme. It was one of the most unique comic book scores I’ve heard in the last decade. It felt very fresh and different. It was also one of the best scores from ‘04’,imo.

So I was quite sad to see Beltrami unable to return for reasons still unknown. Del Toro and others have claimed it was scheduling conflicts, which I feel is BS. I was disappointed to not hear his themes return. I really wanted to see or hear how he would develop ‘em. This is not knocking Elfman. I love the guy’s work as you all should know. And I was curious to see him work with Del Toro. But he could write this kind of score in his sleep. I appreciated the sound Beltrami created for HB in the first film. Even the animated movies that nobody knows existed used Beltrami’s HB theme, which was awesome. So it took a while for me to get over it. But once I did I got excited to hear what Elfman would come up with for HB2.

“Introduction” is the 1st track that is scored to a younger Prof. Broom telling the story about the Golden Army to a young HB about how and why they were made. Also telling him about how the Golden Army were indestructible. The music fits well with the images of puppets going to war with Prince Nuada and his army. It really captures the imagination or in the film’s case HB’s imagination. It starts off very mysterious and almost magical as it’s taking us to another world. The music tells the story perfectly even without the images and Broom’s dialogue from the book. It’s also Herrmann-esque in parts capturing the old Harryhausen films that inspired the movie. This track also introduces Prince Nuada’s theme as well as the Golden Army’s theme.
VIDEO-CLick to Watch!:


“Hellboy II Titles” is short but great. I like the build up of the Golden Army theme. It’s very menacing and threatening. The music enhances the images perfectly. Therefore, letting the audience and listener know that this is the threat HB is up against.
VIDEO-CLick to Watch!:


“Where Fairies Dwell” starts off very mysterious as HB and his team search an auction house as to why the guests have disappeared. Turns out little fairies ate them. As the fairies appear on screen Elfman creates a sound that is eerie and typical of him. It’s kind of cute in a creepy way. He also makes good use of the chorus as Abe explains to HB about the fairies. It’s almost childlike. Elfman’s HB theme is used sparingly without being too obvious as HB and the group search around. The music goes crazy as the fairies wreak havoc on the BPRD. It’s a great track that builds up to the fairies attack. But a chunk is edited out on the album.
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“Father And Son” is a track that starts off dramatic and touching even. As Prince Nuada explains to his father and sister why they should break their truce with the humans and unleash the Golden Army on them. It really adds some weight to Nuada and making him seem that he’s not that bad of person. The character doesn’t really think of himself as a villain either. He really believes that unleashing the Golden Army would benefit his people and humans even. The music plays to Nuada’s feelings and emotions. It doesn’t play menacing and dark music to show this guy is evil. I find that very interesting. Nuada’s theme really carries his speech and makes it grand and majestic. Then the music turns from dramatic to threatening when Nuada fights off the King’s guards before they execute him for his scheme. I like the way the action music is written. It captures Nuada’s skills as a fighter and the choreography in the fight scene well. It’s also nice how dramatic the music gets when Nuada kills his father. It’s just a very well written cue that’s both dramatic and action packed as the scene itself.
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“The Last Elemental”, the track where HB kills the forest god. The blood from it creates a beautiful image of a large flower in the middle of a building. With leaves floating in the air. The music is typical Elfman. It has a chorus capturing the beauty of the image that HB and his team amazed at. For a lot of people this is the highlight of the album. I like how dramatic the music, which is HB’s and Liz’s love theme, gets as the citizens and police that HB just saved fear him and his team based on the way they look. It really captures the struggle HB and Liz deal with about being different and trying to fit in. The last few seconds ends with a strong and grim statement of the HB theme proving that HB will continue with his struggle with humans fearing him eventhough he’s not a bad guy.
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“A Choice” is a dark, eerie, and haunting track. That captures the atmosphere and essence of the Angel of Death who offers Liz a deal. Which is the destruction of Earth for HB’s life. It really capitalizes the point that the choice Liz makes will leave consequences. If she chooses to save Earth HB will die from the spear Nuada stabbed him with. If she chooses HB instead he’ll be responsible for the destruction of Earth. The strange whispering that opens the track are very eerie. It almost sounds snake like. I like how tragic the use of HB’s theme is b/c either choice Liz makes she and HB will suffer the consequences of that choice. So it’s really a lose-lose situation when you think about it. After she makes her choice and HB lives the love theme carries the rest of the track. Some have complained about the love theme and believe it’s a rip off of JNH theme from Lady in the Water. There are similarities between the two. But I don’t believe it’s a rip off. I can easily differentiate the two.
VIDEO-CLick to Watch!:


“In the Army Chamber” is the best action track on the album. It’s also one of best action cues Elfman’s written, imo. I even believe it’s one of the best action cues written that year. I love how powerful and dramatic Nuada’s theme gets as Abe throws him the last piece of the crown to save Nuala’s life, who Abe loves, from Nuada . Abe makes a similar decision Liz made in sacrificing Earth’s safety for his love. The music plays to the power that Nuada now has with the last piece of the crown. The Golden Army theme really gets big and grand as they approach HB and his team. It’s very Herrmann-esque and gives a sense of impending doom. The HB theme goes in many directions from tough to heroic as HB and Johann takes on the Golden Army. The Golden Army theme is really awesome as they rebuild themselves and are ready for round 2 until HB has a plan to challenge Nuada to fight for command of the Golden Army. A really superb track.
VIDEO-CLick to Watch!:


“Finale” is one of the best dramatic tracks Elfman’s written in the last decade . Part of it was used for the trailer of Tim Burton’s Alice In Wonderland which of course is scored by Elfman. It plays Nuada’s theme very tragic and dramatic. B/c of the sacrifice Nuala made killing herself by killing Nuada since they’re both linked. It plays to the emotions of both Nuala and Nuada as they both lose something. The same could be said about Abe b/c Nuala is now his lost love. It really tugs the heartstrings when both Nuada and Nuala are turned into stone. I love how Elfman uses the HB theme as HB questions the power of the crown. The use of Golden Army theme is very bombastic and wraps up the album nicely as they shut down after Liz destroys the crown. The Golden Army theme goes out with a bang. On the dvd commentary Del Toro had Elfman rewrite that particular part b/c it felt to him that it made the movie seem like it was over. So you’ll hear a different version of TGA shutting down in the film. The track has easter eggs at the end that plays source music (during troll market scenes I believe). I don’t know why they thought it was a good idea to put that at the end. Still, a nice piece of music that makes good use Elfman’s HB theme, imo.
VIDEO-CLick to Watch!:


I enjoy the album as a whole. There were some tracks I didn’t mention that I find great as well. But this is an album I can talk about forever. So I won’t. I like that the love theme between Princess Nuala and Abe is a more romantic theme of Nuada’s which makes sense b/c Nuala and Nuada are both linked. I like all the themes. I think Nuada’s is the strongest in the score. The Golden Army theme was impressive but underused. Makes sense though b/c they’re hardly in the film.

Compared to Beltrami’s original I think Beltrami edges out Elfman. B/c this was new territory for Beltrami. Therefore, it made it feel fresh. Elfman can do this kind of score in his sleep. I’m not saying he did, but this kind of film isn’t too much of a challenge for him. Though, great things came out of it. I also find Beltrami’s HB theme stronger than Elfman’s. It has a little more oomph to it. Beltrami’s Liz’s theme or love theme from HB was also stronger than Elfman’s also. Too bad we didn’t get to hear those as well as Abe’s theme, develop. I’m not slamming Elfman b/c I think he did a great job. I just think Beltrami’s score is slightly better.

Some have complained that it sounded like Elfman’s greatest hits and nothing fresh. I disagree . Sure Elfman went back to his roots but he kept his current writing style intact. Even to the point where some believe the score lacked themes. That isn’t true the score had themes for HB, Nuada, Nuala & Abe, Liz, and the Golden Army. Johann Krauss had a short theme for his introduction that wasn’t used again. Even the fairies had a musical identity that featured a jack o’ lantern type sound. The score had plenty of themes. It’s just too dense to catch on the first (and maybe first few listens) listen. Some Elfman fans had a hard time appreciating it. But once they caught on they realize the magnificence of the score. The complaints about it’s density and textures are very similar to those of his Sleepy Hollow and Spider-man scores.

I think this score was the best superhero score that summer and year. Eventhough Powell’s Hancock was great. This was a lot better than than generic Iron Man score by Ramin Djawadi . It was also better than Craig Armstrong’s “disappointing” and “dull” TIH score. It definitely owns Zimmer and Howard’s TDK score as well. TDK score got a lot of buzz but to me it was more of the same from they’re BB score. It still sounds like any other MV/RC score. I think Elfman’s HB2 has a lot more weight to it. It doesn’t even feel like his other superhero scores. It’s more whimsical and magical. And written as a fantasy adventure in the vain of a Herrmann/Harryhausen movie.

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Old 02-11-2012, 04:29 PM   #140
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Milk was Elfman’s 4th and last score of 2008. The film is about the gay politician who fought for gay rights in the 70s. It’s directed by a longtime collaborator and friend of Elfman’s ,Gus Van Sant. This was their 4th collaboration.

The CD’s first 6 tracks contains songs from the film. I’m just going to get right into Elfman’s score. Which there is 30 minutes of on the album, I believe.

“Main Titles” is a very moving and inspiring track. It’s got a similar tone to Elfman’s own Good Will Hunting (also directed by Van Sant) score. I love the use of the saxophone in it. Harvey’s Theme 1 comes in the middle and is kind of like his crusade and hope theme to have equal rights. It adds some dramatic weight in the track. The music is played to black and white images of police arresting men at gay bars in the 60s or 70s. I can’t recall which decade.
VIDEO-CLick to Watch!:


“Politics Is Theater” is a track that I couldn’t recall where it was featured in the film. I found the track to be very upbeat in the way his "Charlotte’s Web" score was. Though, it starts off pretty somber. I like the tender use of Harvey’s Theme 1. The whole track is tender and amiable. It’s get eventful towards the end in cheerful Elfman fashion.
VIDEO-CLick to Watch!:


“New Hope” is a very uplifting track. Again I don’t know where it plays in the film. Harvey’s Theme 1 does capture that feeling and sense of hope. Not just in this track and but also in others whenever used.
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“Gay Rights Now” begins with a lot of tension of a riot about to break between Milk’s supporters and the police and Harvey races to stop it. Or he was running late to a protest and things almost get ugly. I think that’s what this cue goes to and how the scene is in the film. But it captures the tone of the scene well. Especially where Milk’s other theme comes in shows all things are well and better. The theme is played very happy and peaceful. I can’t seem to find this track on YT though, but it’s a great track.

“Harvey’s Last Day” is a very moving and sentimental track that captures Harvey’s last moments before he’s killed. It uses the theme for the main title very effectively. This is Oscar caliber stuff. Who doesn’t feel moved by this cue?
VIDEO-CLick to Watch!:


“Give ‘em Hope” is a pleasant and peaceful track that keeps hope alive. It’s another track that’s Oscar caliber, imo. It has that soothing feel that Elfman brought to Big Fish. I find it upsetting that YT doesn’t seem to have this track. I highly recommended this track.

“Postscript” is the track that plays towards the end. It plays over images of the cast and the real life people they portrayed in it. As the film gives backstory to where they are now. It almost plays as a memorial for Milk and dream. I like the use of the chorus concluding the track giving it more emotional weight. Sadly I can’t seem to find this track on YT either.

I found the score to be very touching and pleasant. It was worthy of the Oscar nomination it received. I still think S.O.P. deserved the nomination more though. it didn’t feel like an Oscar bait score the way Milk did . That’s not an insult to Milk at all. But I just found S.O.P. to be more creative and new territory for Elfman. Plus I believe they nominated this more b/c of the film (it was nominated for Best Picture) than the score, which is a shame. I can’t remember where most of the tracks fit in the film, b/c I’ve only seen it once. I remember being mixed pretty low in the film also.

I think Milk is another great score that Elfman wrote in '08' along with S.O.P, Wanted, and HB2:TGA. All the scores showed a variety of his styles. I feel all the scores fill different spots and moods for me. I think 2008 was an excellent year for Elfman and right up there with 2002 for him, imo.

I recommend Milk if you like dramatic and moving scores. It rivals his best dramatic scores. As well as the best dramatic scores done by most film composers, imo.

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Old 02-11-2012, 05:42 PM   #141
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Holy crap! I just found out at Film Music Reporter that Elfman's signed on a new project coming out next year. An animated movie adaptation of the book "The Leaf Men and the Brave Good Bugs" titled "Leafmen". Never read the book. But curious enough to see what Elfman will come up with for it.

http://filmmusicreporter.com/2012/02...udios-leafmen/

Interesting that the book is written by the same guy who wrote the book "Meet the Robinsons" is based off of. Which also Elfman scored.

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Old 02-14-2012, 09:48 PM   #142
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Today LLLR has released an expanded 3 disc score of Elfman's POTA. The first two discs are the complete score and alternates. The 3rd disc is the original 2001 album. It's 29.98. Which is pretty cheap for a 3 disc set. It's limited to 3500 copies.


http://www.lalalandrecords.com/Apes.html

I like the cover a lot. I plan on purchasing it whenever I get the chance. Eventhough I own the original 2001 album. As well as the album from the E/B 25th Anni. Music Box. It's one of my favorite scores from Elfman in the last decade.


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Old 02-18-2012, 10:05 AM   #143
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I really enjoy reading your comments on all these scores Elevator Man. It's always refreshing when people don't have the metality of "OMG children's choir, this score is just a rip of of his other scores" and it's great to see that people still appreciate the intricacies and incredible variety in his work.

I finally heard Iris in context and the "Scarlett Balancing" sequence almost had me in tears. I love this man so much.

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Old 02-19-2012, 04:30 PM   #144
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Originally Posted by ddddeeee View Post
I really enjoy reading your comments on all these scores Elevator Man. It's always refreshing when people don't have the metality of "OMG children's choir, this score is just a rip of of his other scores" and it's great to see that people still appreciate the intricacies and incredible variety in his work.
Thanks. I really appreciate that. I do my best to explain his music in words and how it affects me and the film (it's written for) emotionally. I'm glad to see someone enjoy my comments b/c I feel I don't do a perfect job defending and explaining why I like his music. I'm not that good with words. And I know most of my comments have typos in 'em but I want to get this across some that aren't familiar (or just despise Elfman's music in general) that he has plenty of range. And that he's capable of more than just fantasy movies, Burton movies, and superhero movies. I think the 00s was a great decade for him in terms of music. And he's already having a strong start in our current 10s.

Quote:
I finally heard Iris in context and the "Scarlett Balancing" sequence almost had me in tears. I love this man so much.
Awesome. I would love to see this show. As well as see and hear how the music works in the context of the show. I bet it's really something.

BTW, they're performing at the Oscars this year with Elfman writing new music. Now I got a good excuse to look at the Oscars this year. I think Elfman's going to steal the night from Zimmer who's the music supervisor this year. Can't wait. I hope I don't miss it b/c "The Walking Dead" comes on during it.

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Old 02-21-2012, 02:58 PM   #145
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Beetlejuice

great frickin' soundtrack!!

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Old 02-23-2012, 07:12 PM   #146
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The nominations for IFMCA awards are in and it looks like Elfman has 3 nominations.

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

• CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
DRIVE, music by Cliff Martinez
• MISSION IMPOSSIBLE – GHOST PROTOCOL, music by Michael Giacchino
• REAL STEEL, music by Danny Elfman
• RISE OF THE PLANET OF THE APES, music by Patrick Doyle

FILM MUSIC COMPOSITION OF THE YEAR

• “The Adventure Continues” from THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• “George Valentin” from THE ARTIST, music by Ludovic Bource
• “Captain America March” from CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• “Final Round” from REAL STEEL, music by Danny Elfman
“The Homecoming” from WAR HORSE, music by John Williams

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE

• THE BLACK HOLE, music by John Barry; album produced by RandyThornton and Douglass Fake, liner notes by Jeff Bond; album art direction by Steve Sterling (Disney / Intrada)
• THE DANNY ELFMAN & TIM BURTON 25TH ANNIVERSARY MUSIC BOX, music by Danny Elfman; album produced by Danny Elfman and Tim Burton; liner notes by Jeff Bond and Danny Elfman; album art direction by Matt Taylor (Warner Bros Records)
• DAYS OF HEAVEN, music by Ennio Morricone; album produced by Lukas Kendall and Craig Spaulding; liner notes by Lukas Kendall and Jeff Bond; album art direction by Joe Sikoryak (Film Score Monthly)
• GREMLINS, music by Jerry Goldsmith; album produced by Mike Matessino and Bruce Botnick; liner notes by Jeff Bond and Mike Matessino; album art direction by Joe Sikoryak (Film Score Monthly)
• MASADA, music by Jerry Goldsmith and Morton Stevens; album produced by Douglass Fake and Roger Feigelson; liner notes by Jon Burlingame; album art direction by Joe Sikoryak (Intrada)

The ones in bold are the winners. I was surprised that Martinez's Drive won in the Action/Adventure/Thriller score category. I thought Silvestri's Cap. score would win for sure. I was also surprised, but happy that the E/B 25th Anni. Music Box won after the backlash it received from fans for it's price tag and album presentatations. I thought Barry's The Black Hole or Goldsmith's Gremlins score would've won since they've never been release before. Those two are grails to a lot of film score fans.

The rest of the IFMCA winners.
http://filmmusiccritics.org/2012/02/ifmca-winners-2011/

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Old 03-20-2012, 03:41 PM   #147
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Today LLLR has released an expanded 3 disc score of Elfman's POTA. The first two discs are the complete score and alternates. The 3rd disc is the original 2001 album. It's 29.98. Which is pretty cheap for a 3 disc set. It's limited to 3500 copies.


http://www.lalalandrecords.com/Apes.html

I like the cover a lot. I plan on purchasing it whenever I get the chance. Eventhough I own the original 2001 album. As well as the album from the E/B 25th Anni. Music Box. It's one of my favorite scores from Elfman in the last decade.
Listen to this last Thursday (including the 3rd disc). It's like hearing a brand new score, imo. It's more fleshed out as well. It was an interesting listening experience. And made me see and hear the score in a different light. I'm still amazed that LLLR released an expansion of this score b/c it's only nearly 11 years old. It still feels a little fresh but I'm pleased they released this. And this is one my favorites from Elfman in the last decade. The score is even more "barbaric" and "tribal" than the original release. I still enjoy the original 2001 release but the expanded release paints the whole picture, imo. Both albums are good listens in their own right though.

The album didn't include the "main title" (synth & percussion only) like the E/B 25th Anni. Music Box did. But they did include the "Camp Raid" (percussion only) like the Elfman/Burton box did. It includes the 1st minute of "Camp Raid" (percussion only) which was edited out on the Elfman/Burton Box. Three other tracks were already released on the E/B box as well ("The Escape", "Calima", and "Dinner Source") that are on the LLL expansion.

The only quibble or nitpick I have is that it didn't include "Rule the Planet" remix minus the dialogue. The one that played during the end credits. Both the expansion and original album have the regular dialogue version. They should've just put the version minus the dialogue on the expansion album since we already have it on the 2001 album that's included with this . It doesn't really make sense to have two "Rule the Planet" remixes if they're exactly the same, but that's a minor quibble.

I recommend this to those that are fans of this score and desire to hear more music from it than on the 2001 album. The expansion doesn't drag to me either. It might for some b/c this is a dense, bleak and atmospheric score. The themes aren't in your face either but they're there. i've heard people that talked about the score beleive it's one of those scores that'll get better and better b/c you'll find something new each listen. But I've never had problem with this score. Also you might have to be in a certain mood to listen to this b/c it's not typical of Elfman or any action score, imo. This score doesn't follow any rules to score a movie like this. It makes it's own rules.

BTW, don't let the price tag fool you. This is worth the 29.98, imo. In fact that's a pretty good price for 3-disc set. I've seen 2 disc cds *cough* Batman89*cough*, *cough*Batman Returns*cough*, *cough*Batman Forever*cough* cost the same price.

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Old 03-28-2012, 10:58 PM   #148
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Well it looks like Elfman already started work on Forbidden Zone 2 the sequel to cult 1980 original. Richard Elfman (director and Danny's brother) gave a sneak peek on SYFY's Monster Man. I would post a video but it's too offensive for SHH. If you want to see it check youtube. Just type "Monster Man Forbidden Zone 2" or just "Forbidden Zone 2". It has a half naked woman with a nice figure but a "grotesque" looking face dancing and singing in front of "cheesy" green screen backgrounds while using F-bombs. Though the footage on Monster Man dubbed the F-bombs. Elfman's FZ theme is used as the beat. This looks just as "bizarre" and "insane" as the original. And looks like SYFY channel is involved in it's production so it might be airing on SYFY channel in the near future. Elfman's music sounds like it never left the FZ either. Funny that Richard was trying to get this made since '04' or '05' I believe. Looks like it's finally coming this year.

http://www.buzzine.com/article/artic...lfman-03022011

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Old 04-02-2012, 08:01 PM   #149
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It looks like Elfman's Dark Shadows score will be released May 8th. The tracklisting is up on Amazon (as well as it being available for pre-order over there) but according to ddddeeee it contains spoilers from the film. So I won't post 'em.



http://filmmusicreporter.com/2012/04...track-details/

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Old 04-03-2012, 02:03 PM   #150
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Default Re: Danny Elfman Appreciation Thread!

Take my money for Dark Shadows, Danny.

Oh and Elevator Man... those 2-CD scores for Batman and Returns was worth every penny. I love them!

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