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Old 04-11-2012, 06:38 PM   #151
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Default Re: Danny Elfman Appreciation Thread!

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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.
I missed the first two minutes of the performamce at the Oscars this year b/c "The Walking Dead" was on during it. I'd of missed the whole thing if the commercial break didn't come any sooner. Luckily I found it in it's entirety on YT. Though the YT footage looks "odd" and supposed to be in HD I thought it was great. I know it won't compare to the experience of actually being there. But it was still great. It was cool how the footage of the "upside down kiss" from "Spider-man" was in the projections in the background showing some of the famous kisses in movies. B/c Elfman of course composed that movie as well as the piece playing in the background of the performance. Also if you look closely one of the performers goofed at 1:20 seconds. I didn't notice until somebody pointed it out in the YT comments section. Besides that small goof I thought they did a great job. That piece is on the soundtrack as well. I don't think it was new material like some article claimed. They edited some of "Buster's Big Opening" with bits of "Rooftops", I believe.

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Old 04-16-2012, 07:58 PM   #152
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Default Re: Danny Elfman Appreciation Thread!

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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/
For those interested there's also going to be a song album for Dark Shadows being released on May 8th. It features two tracks (which are also on the score album) from Elfman's score. And even has a song titled (of all things) "The Joker" performed by Johnny Depp himself. The album cover for the song album is also more appealing than the score album, imo. Which always seems the case in these situations.



http://filmmusicreporter.com/2012/04...ack-announced/

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Old 04-22-2012, 05:21 PM   #153
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Default Re: Danny Elfman Appreciation Thread!

If they're any Elfman fans in LA. They should check this out.



http://www.warnerbrosrecords.com/new...ession-may-8th

I sadly won't be able to attend the live Q&A b/c of how far it is from me. I'll have to check out the live streaming if possible. If I can't hopefully somebody can post the Q&A on YT or something. And I already have an autograph from Elfman from the bonus disc #17 on the E/B 25th Anni. Music Box. Which has dropped from $499 to $399 (don't know if the price cut is temporary or permanent) for those that have yet to buy it b/c of the high price tag. Hopefully the questions asked to Elfman wont be the cliched ones either.


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Old 04-26-2012, 07:38 PM   #154
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Default Re: Danny Elfman Appreciation Thread!

For those interested in Elfman's Men In Black III soundtrack. The album is scheduled to be released May 29th. It's already availiable for pre-order at Amazon. The tracklisting is up as well. The album contains 22 tracks, but the album cover and soundclips aren't up as of yet. Looks like the Pitbull song ("Back In Time") won't be featured on the album either.

http://filmmusicreporter.com/2012/04...ils/#more-9971

Good to see the album including a main title track by Elfman. The past few Elfman scores been lacking 'em lately. I was worried MIIIB would ditch it too.

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Old 04-27-2012, 12:18 AM   #155
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Th Biggrin Re: Danny Elfman Appreciation Thread!

yeah I LOVED the MIB theme Elfman did for those, one of the main reasons why I am looking forward to MIIIB .

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Old 04-27-2012, 03:25 AM   #156
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Default Re: Danny Elfman Appreciation Thread!

I was in a Danny Elfman mood today... here's one of Boingo's lesser known (but awesome) songs

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Old 04-27-2012, 09:52 AM   #157
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Default Re: Danny Elfman Appreciation Thread!

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yeah I LOVED the MIB theme Elfman did for those, one of the main reasons why I am looking forward to MIIIB .
Agreed.

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I was in a Danny Elfman mood today... here's one of Boingo's lesser known (but awesome) songs

VIDEO-CLick to Watch!:
You know what's funny last night I was going around YT looking for Boingo music. I haven't listened to the albums I own of Boingo in quite some time. I came across this song, which I do own the album it's featured on ("Dark At The End Of The Tunnel"). It's a great Boingo song indeed. That's what I love about most of their songs there's always an underlying message in there no matter how quirky and insane some of there songs get.

There was also a country version of "Skin" used at the end credits of Clive Barker's horror fantasy "Nightbreed", which Elfman also composed music for. Though it was performed by someone else and not Boingo. I can't find any videos up of that version on YT, but the Boingo version is more appropriate for the film, imo.

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Old 04-28-2012, 05:50 PM   #158
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http://www.traileraddict.com/trailer...w-danny-elfman

Looks like Elfman used a small orchestra for DS like he said he would when he was promoting "Real Steel". Can't wait to hear his themes for Barnabas and Angelique (sp?) after his discrption of 'em.

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Old 05-02-2012, 04:53 PM   #159
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Here's the cover art for Elfman's MIIIB cd.



Not impressive or appealing. But the music is what matters. So despite the cover art and film for that matter I'm still eagerly anticipating this score.

Also here's a piece of a Barry Sonnenfeld interview by FilmSchoolRejects, where he talks about Elfman's MIIIB score.

Quote:
"[Jemaine Clement is] a really mean and great-looking villain. We learned from the second one and are back to have[ing] a really strong villain. In fact, Danny Elfman, who did the score on all three movies, is [a] huge Jemaine Clement fan and loves every moment of Flight of the Concords. The first time I showed him Men in Black III, he said, "That villain is fantastic. Who is he?" I said his name was Jemaine Clement, and he said "no way." Danny Elfman not recognizing one of his musical idols was very satisfying.
Quote:

"Danny did a fantastic job on the score, with it being reminiscent of the first movie, but also new and hip. Also, by going to 1969, it allowed me to have a lot of really great music from the era. However, some of the music I chose is not so much pop, but Velvet Underground, Cream, and a Rolling Stones I had never heard before called 2,000 Lightyears From Home, and it's a fantastic song."

The whole interview:http://www.filmschoolrejects.com/features/barry-sonnenfeld-jgiro.php

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Old 05-03-2012, 11:01 PM   #160
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Happy 10th Anniversary Spider-man (2002). Fans of the original Raimi trilogy are probably watching the first film or the whole trilogy in honor of the 10th anniversary. But I decided to listen to the Elfman score again for the first film. I still enjoy it as much (maybe even more) as I did before. I know I talked about this score a few months back and gave my thoughts on it. For those who missed it or don't want to search it. Look no further:

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I remember back in 2001 after I saw POTA (2001) and being impressed by Elfman's score to it. And couldn't wait to see (or hear) what he came up with for Spider-man. And he didn't disappoint. Now almost ten years later (though it's been a while since I've last heard it) it's still great. Probably even better than it was in 2002, imo. Especially since a lot of superhero scores today have the generic MV/RC sound. The main problem I have with the album are the micro-edits in some of the tracks. But overall a great and fun score. That hits all the right notes. It's paced good and there's never a dull moment on the album.

A lot of people complained that it sounds like his Batman score and many of his other superhero scores, which is BS. The score is Elfman-esque. But saying it sounds exactly like Batman, when it actually doesn't, is beyond ridiculous.

People have also stated that it has no themes. The score has plenty of themes. You can hear Spidey's theme throughout the score. It's disguised through all the texture and layers the score has, but it's still there. You can hear it throughout in "Main Title", "Costume Montage", "Something's Different" (small piece of the theme plays at the beginning of that particular track), "City Montage", "Parade Attack", "Final Confrontation" and "End Credits". Basically whenever Spider-man shows up in the film.

Peter Parker also has a theme as well. Which is even more memorable than Spidey's own, imo. It also play's on the same tracks I mentioned above except "Something's Different". It also play's on the second half of "Revelation' which takes place at the hospital, where Peter tells an unconcious Aunt May that he's sorry.

MJ has a theme that you can hear in the first half of the track "Revelation" (plays during the upside down kiss scene). You can also hear it in "Getting Through" and "Farewell". The theme is kind of underused on the album. But when used it's used with great affect.

Green Goblin's theme can be heard in "Parade Attack", "Specter of the Goblin", "Final Confrontation".The theme goes all out when GG shows up on the bridge firing pumpkin bombs in the "Final Confrontation". Which has the music of the first half of the bridge scene and the second half of the music during final fight scene in the condemned building.

Aunt May even has a theme. It only plays on "Alone". So it's a load of bull that the score has no themes what so ever. It had plenty.

People have also complained that his theme isn't as iconic or memorable as Superman's or Batman's. Why should every superhero score have to be like Superman's and Batman's ? I think Elfman took the right approach by giving Spidey a motif instead of big theme or a march. He gave Parker the big theme. It makes sense since Peter Parker is who he really is and not Spider-man. He never trained most of his life to be a crimefighter. In fact he never set out to be one. Once he found out he had powers. Guilt over uncle Ben's death is what got him to become a crimefighter. Plus Elfman was able to do more with his Spider-man motif than he could with his Batman theme. He did many things with that theme that Williams's Superman theme and a lot of other big themes wouldn't be able to do, imo.

The score has plenty of highlights. I can't really pick one since I enjoyed the whole album. I thought the Spider-man theme was used with great affect in the score and film. I liked how it was used during Parker's shirt rip at the parade. I also loved how he used the Peter Parker theme when GG dropped the ferry and MJ. And as Spider-man's running to save them both as they were falling. The music was very powerful and epic in that whole scene but especially that particular part. The GG theme really captures the psychotic, twisted , schizophrenic nature of the character without using a one note theme. The score is hard for me not to like. I think it's one of the best superhero scores. It's right up there with the greats.

Here are some cues that proves how underrated and great this score really is. Eventhough there's plenty of other tracks that can prove that as well. But I don't want to post them all. The score is like a puzzle when all put together. You see the whole picture and will appreciate the score even more b/c of how detailed every track is. You probably have to hear the complete score to really appreciate this. Eventhough I haven't heard the complete score. But going off of it in the film. The score really is clever and more than a by the numbers superhero score, imo.

VIDEO-CLick to Watch!:


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I love how the end credits actually closes. I'll try to explain it as best as I can. But it feels as if eventhough Spidey's origins are completed . He will have many more adventures and responsibilities as Peter Parker and Spiderman. The score really captures the heart of the character as well as the film itself, imo. And really deserves more praise.
I'm not going to add much b/c I think I did a pretty good job on defending why I like the score and why I think it deserves more credit. Plus I could write a book about how well written the score was and is if I wanted to. So I won't ramble on about it.

After just listening to it again the Spider-man theme or motif is still "heroic", "whimsical", and fits Raimi's take as well as the character quite well. Elfman does some variations of the theme. That it's hard to pinpoint which one's the main theme. That's why it's more of a motif than a theme. Elfman first played the theme kind of mysterious. Like could it be a gift or a curse as Peter discovers and explores his new abilities. And even plays to the idea if Peter becoming a freak/monster or something extraordinary at first. As the character becomes Spider-man and goes after Ben's killer the theme actually becomes more "heroic" and "triumphant".

Peter Parker theme, which some like to call Uncle Ben/Responsibilty theme, really captures the heart of Peter Parker as well as his struggles. It's a very touching and dramatic theme. It really nails Peters guilt and responsibilities, imo.

The love theme or MJ's theme is very sweet and cute and it really captures the chemistry between Tobey and Dunst in the film. It even captures MJ's personality even if people believe Dunst botch her portrayal of MJ or not. I also think it captures what Peter feels about MJ. Elfman said he scored it like unrequited love. B/c the relationship never consumates.

The Aunt May theme captures what both ( Peter and May) feel without Ben being in their lives again.The theme is very touching and at times heartbreaking and it really captures Aunt May's responsibility to make sure Pete's going the right path in life b/c Ben isn't there to do that anymore. And the same goes for Pete being responsible and watching over May now that he's the man of the house. The theme is also kind of a pep talk theme for May whenever Pete's feeling down.

The Green Goblin theme really nails Osborn's dark side, insanity, and schizophrenia. It's menacing, sinister, and threatening at times. Nothing about this theme is nice or sympathetic. The theme is plain evil just like GG himself.

There I go rambling on. I'll wrap it up and say this score still holds up after 10 years. I never tire of it. The film is also awesome. Though I haven't seen it in a while. But wow 10 years later. Another Spider-man movie on the way in July with a new cast and director and of course composer. It'll be interesting to hear what Horner's approach will be with the music. And how it'll stack up to Elfman's.

Happy 10th Anniversary Spider-man (2002). Though I'm a day late.

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Old 05-03-2012, 11:05 PM   #161
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Also for those interested samples for Elfman's MIIIB score are up. I'll wait to see the movie first before hearing the samples or score for that matter.

http://www.cinemamusica.de/1733/die-men-in-black-gehen-zum-dritten-mal-gegen-die-aliens-vor-first-listen-zu-men-in-black-3


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Old 05-07-2012, 10:37 AM   #162
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Elfman had an interview on East Village Radio yesterday. For those interested here's the link to the interview. It's the May 06, 2012 interview. It'll play cues from various Elfman filmscores (including Dark Shadows) and even songs from his Boingo days.

http://www.eastvillageradio.com/show...&showid=245374

If you just want to get to the interview. Click Playlist - May 06, 2012. It'll show the table of contents of what was playing on the show. As well as when the interview took place. That way when when you FF to the interview you'll know which spot it's at.

The link to the table of contents of that program:

http://www.eastvillageradio.com/show...374&list=43345

AICN also conducted an interview with Elfman yesterday. With Elfman offering tidbits about Dark Shadows, MIIIB, and future projects.

http://www.aintitcool.com/node/55508

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Old 05-08-2012, 10:02 PM   #163
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Just saw the livestream of this. Which was great. I even posted questions that never was asked. But I still enjoyed it.

Here's the link for those who missed it and are interested:

http://new.livestream.com/dannyelfman/DarkShadows

The first 15 minutes or so is just the audience gathering and waiting for Elfman and the Moderator (Jeff Bond) to approach the stage. 16 or so minutes is where the Q&A begins. It's 1hr and 46 or so minutes long.

Interesting tidbits from the Q&A. Elfman thinks his Batman score is his most overrated. He listens to hip hop on his spare time. Didn't like the the Dark Shadows show growing up. And would like Thomas Newman or Alexandre Desplat to score his biopic if one decides to make one about Elfman.

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Old 05-09-2012, 11:09 PM   #164
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Default Re: Danny Elfman Appreciation Thread!

For those who can't upload or get the livestream. Somebody posted the livestream on YT. It cuts right to the interview unlike the livestream on the site.

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Old 05-10-2012, 01:29 PM   #165
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Another Elfman interview. Two pages long. http://www.avclub.com/articles/dark-...ong-col,73699/

Yeah nothing I haven't heard already. These interviewers need to ask more creative questions instead of the cliche ones. They didn't bother asking him about MIIIB or Frankenweenie and didn't ask much about Dark Shadows.

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Old 05-10-2012, 02:21 PM   #166
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Short videos of Elfman at the premiere and after party of DS. The 2nd video Elfman's with his mom and signing autographs. After signing he almost leaves his mother behind.

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Old 05-26-2012, 08:30 PM   #167
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So I saw Dark Shadows this morning. I thought it was decent. But man this could've been A LOT better. Most of the characters were one dimensional. The relationship between Barnabas and Victoria (as well as the character herself) was underdeveloped. The movie was all over the place. The third act was very sloppy. The Collins family didn't have a proper conclusion at the end only Barnabas. The movie had so many ideas and plot devices that went nowhere. I felt the film wasted Pfieffer though she did her very best with what she was given. Moretz's character felt like a Lydia knockoff. Of course lacking the depth Ryder brought to her character in that film.

What I did like was the production values which is expected of Burton. I thought Depp was great and gave a strong performance. Green and Bonham Carter were also good with what they were given. I also liked Christopher Lee's cameo in it. And the score by Elfman was good but nothing amazing stood out for me in the film. It has some of his "Wolfman" writing in there which is fine. I really wanted to like this film but it just needed another rewrite. The script is probably the main problem. I also don't think this film brought Burton back to his early days as a director like Moretz claimed. It was suppose to but didn't to me. It lacked something his good films had.

I guess MIIIB is next. Curious about how good this'll be with all the positive reviews it's getting. I definitely can't wait to hear Elfman's score for that film. I will be getting Elfman's DS score whenever I get the chance.

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Old 05-27-2012, 05:33 AM   #168
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Default Re: Danny Elfman Appreciation Thread!

The two Dark Shadows cd's were a nightmare to get... and truthfully I don't think alot of effort was put into them.

This was probably the least memorable Burton/Elfman collaboration. I hope Frankenweenie has a bit more kick to it.

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Old 05-29-2012, 09:46 AM   #169
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Happy 59th Birthday to Mr. Elfman. I hope you have a blessed birthday. In honor of your birthday I think it's appropriate to play the MIB theme since the third film opened this weekend and dethroned The Avengers from the #1 spot.

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Old 05-29-2012, 06:01 PM   #170
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Elfman scored 3 films that were released in 2009. The first, which you wouldn’t expect Elfman to score, was the biopic about the late hip hop artist Notorious B.I.G titled “Notorious”. Though there was of course a song album. There never was a score release. The song album featured 1 track by Elfman though.

His second score that year, which was another film you wouldn’t expect Elfman to score, was “Terminator Salvation” directed by McG of all people. There’s a lot of questions I would ask about why T4 was made. Like why hire McG to direct a 200 million dollar picture from a popular sci-fi franchise that’s already running out of steam? Why make a sequel to a movie that was considered a flop (T3)? Why hire the same writers that were one of the main problems of the last film to write T4? Why would Christian Bale agree to work on a 4th terminator movie that is directed by McG? Are better yet why would Danny Elfman work with McG on a 4th Terminator movie or at all? So many questions.

The movie was a disaster. I knew that before seeing the film and judging it from the trailers. And even from the thought of McG directing a terminator movie, which to me was a terminator movie in name only. It was just a mish mash of Mad Max, Aliens, Transformers, I am Legend and pretty much every other scifi movie about a robot or cyborg trying to find his creator or purpose in life. I can go on and on as to why I really disliked T4 but won’t. I think the only reason I bothered watching T4 was for Elfman’s score, which wasn’t worth it sense the score was either butchered, dialed out, or buried under sound effects. I thought the album released for it was good though not great but I can’t blame Elfman since he couldn’t work with much in the film. It’s hard to make piece of crap look good especially with music.

The first track “Opening” is the full main title music that was butchered in the film. It’s about six minutes . It’s very well written. It’s mostly the main theme of this film which Elfman did a variation on the iconic Fiedel theme. Instead of just using the Fiedel theme completely. It has a similar tone to Fiedel’s original. The build up at the beginning captures the same unsettling tone that Fiedel brought to his original terminator main title. “Opening” feels metallic, raw, threatening, edgy, tough, hopeful, and even a little heroic. I think the theme captures Connor and Marcus Wright as well as their relationship in the film perfectly.

Some people could find similarities to his POTA score. Yeah there are hints of it but this opening (and score for that matter) is another animal to his POTA score. POTA was more tribal. This sounds like something that would play to images of a factory in Skynet building endoskeletons. It feels like (to me anyway) that we’re listening to terminators getting build only musically.

The last part of the track when the acoustic guitars plays to Marcus awaiting his execution in a few minutes in some prison after he signs some contract with “Cyberdyne” , which I thought was destroyed in T2 ? Then as Marcus gets strapped to the chair to the gas chamber or whatever. Elfman uses these Fiedel-esque synth sounds that was used to identify T-1000 musically in T2. Which was a nice touch. It capitalizes on Marcus’ execution but also his future since he sold his soul to “Cyberdyne”. Elfman adds the perfect amount of drama once Marcus dies. Also as he’s getting strapped in you also hear the second theme which is almost a hopeful theme. It’s a dramatic theme for Marcus.

VIDEO-CLick to Watch!:


The film version of the opening is short and edited. It adds the last part of the Terminator theme . I guess McG or TPTB wanted a piece of the terminator theme added. Which I remember was very loud and shook the theater’s sound system. A lot of terminator fans and fans in general prefer this version b/c of the last piece of Fiedel’s Terminator theme playing at the end. Which is fine but I found it distracting and out of place with Elfman’s music. You can tell that was tracked in. I bet the reason why some people prefer it b/c it has a piece of the original terminator theme tracked otherwise they probably wouldn’t care about Elfman’s original piece which is on the album. I wanted to post both versions just for your benefit. The tracked in Fiedel piece was used in the Arnold reveal and the ending as well.

VIDEO-CLick to Watch!:


“All Is Lost” is the music during Connor’s fight with a legless endoskeleton. It was dialed out of the film if I recall. The cue starts off very abruptly and chaotic as the legless endoskeleton sneaks up on Connor and attacks him. It’s very suspenseful and adds a lot of tension building up to Connor terminating it with a mini gun (I believe) attached to a damaged helicopter. After that the music plays another theme (that could be heard in “Opening”) I don’t know what to call it Connor’s B theme? It play’s the B theme dramatic but relieved capturing Connors exhaustion from fighting the endoskeleton. Before the fade out I think this track really captures Connor’s loss. All his men are dead and he’s temporarily on his own. It really captures the feeling that Skynet has won the battle but in the long run will lose the war. The music fades into something mysterious as the scene itself does and builds up to a nude and dirty Marcus Wright running in the rain and mud escaping someplace Skynet built or owned. The music gets real dark, aggressive, and dreadful as Marcus is screaming in the mud (or oil) and wiping it off his face. The music really gives that part of the scene a sense of doom. Making it seem like Marcus has just awoken to a nightmare, which is an apocalyptic future. And he won’t be able to wake up from it. This track really fits it’s title perfectly, imo.

VIDEO-CLick to Watch!:


“Broadcast” was another track that was dialed out of the film(well the middle part anyway). “Broadcast” plays to the scene where Connor talks through a radio transmitter or frequency (which for some reason Skynet can’t track down)to any survivors and giving them hope. Young Kyle Reese (in case you aren’t familiar with Terminator 1 Reese is Connor’s future/past father who was sent back to 1984 by Connor himself to protect his mother Sarah Connor from being killed by a terminator and for Reese to mate with Sarah so John would exist) and Newt—I mean Star listen to John’s speech and afterwards try to find and join him & the resistance. “Broadcast” starts off very hopeful and peaceful with the acoustic or Spanish guitars playing. The B theme is played very strong throughout. Elfman makes really good use of the themes that you hear in “Opening”. The themes are very strong and powerful in the way it closes the track. Almost giving it a sense that the resistance won’t give up until Skynet’s destroyed. And if more survivors joined the resistance they’ll stand a chance against Skynet.

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“The Harvester Returns” takes place during the chase with the motor-terminators going after a truck with Marcus, Reese, and Star inside. It’s very funky and Fiedel-esque. Again emulating the synth sounds that are similar to the ones that were used to identify the T-1000 character musically. The track is very raw and tense capturing the danger of being chased by terminators and a transform—I mean Harvester. “The Harvester Returns” captures the thrill and danger in the scene the same way Elfman did with “The Chase” from The Kingdom. So if you like that track from The Kingdom you’ll probably love this one.

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“Reveal/The Escape” begins as the music builds up in suspense to Marcus’ revelation that he isn’t human. The music really captures his emotional pain and frustration of him no longer being human but something worse. The score really nails the Marcus’ emotions and feelings b/c not only he finds out he’s a terminator but he’s also now a prisoner and treated with prejudice as some kind of monster by the resistance (the same people Marcus thought he could get answers from). Though I must admit I wonder how he didn’t know he was a terminator in the first place since he was executed in prison? The main theme is played in a tranquil way after things heated up as Connor and co. revealed Marcus wasn’t human. “The Escape’ is mostly suspenseful music playing to Marcus’ escape from the resistance’s base. I doubt most of this was used in the film. If I recall there was hardly any music in that escape scene. The track none the less makes good use of the main theme and adds a lot of anxiety and thrills in the track.

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“Farewell” starts off a little cautious, but then the main theme is played dramatically. The track gets more emotional and sentimental as the main theme is played with acoustic guitars. I can’t recall where this played in the film. It’s either for the scene where Connor (instead of just killing Marcus) makes a deal with him to stop Skynet. Or when John says bye to his wife and utters Arnold’s famous line “I’ll be Back”. I honestly don’t know where it plays in the film. What I do know is this short but “moving” track gives a feeling of desperate hope, imho. It brings me back to Elfman’s Sommersby score with the acoustic guitars. Though he’s used acoustic guitars in other scores but this one brings me back to Sommersby in a good way. It’s amazing a track like this is written for a terminator movie and a crappy terminator at that.

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“Final Confrontation” is a fun, thrilling, and very exciting track. That plays as Connor and Reese, and Newt--I mean Star escape from Skynet. I think Connor has trouble with a endoskeleton but Marcus joins in and fights it but gets defeated when the endoskeleton punches his heart. I think Elfman does so many things in this track. It starts off like Connor and the resistance are running out of time b/c John wired the place to blow, I think. So the cue plays up the tension of running out of time and gets more threatening as John struggles with the endoskeleton. The main theme make’s a heroic and kick-butt entrance as Marcus does himself to save Connor. It’s a very adventurous track that’s full of thrills, imo. It feels like what the track itself is called the “Final Confrontation”.
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“Salvation” is a mournful and emotional track. It sort of grieves Connor on his death bed. B/c the endoskeleton stab Connor in the back through his heart after Connor revives Marcus’ heart. As he gives his final words or speech to Reese. Marcus decides to give Connor his heart. Which doesn’t make sense b/c how does anyone perform a heart transplant outside in the apocalypse with limited equipment? Anyways the track plays the main theme very hopeful and sad as the dying Connor is talking to Reese. But becomes inspiring and confident as one of the other themes/motifs (which I believe is associated with Marcus) plays as Marcus and Connor go through the transplant. The music ends very peaceful as Marcus dies. Elfman really nails musically the decision Marcus makes to save Connor. It plays to the difference Marcus made of keeping Connor and hope alive. So Connor could lead the resistance to victory. I also like the use of a synthesise chorus that you can hear in the beginning. Very Fiedel-esque. This is definitely a superb track that’s does a better job than scene itself did.
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Overall I think this is a pretty good score by Elfman. It’s also a good album listen. It’s not one of Elfman’s best scores. It’s certainly better than what the film deserved.

My only real problem with this score is that it’s attached to a really crappy movie. And sometimes it rubs off on this score. I still want to know why Elfman signed on to this and why he decided to work with McG? It’s very puzzling. I also think this score would be even better if Elfman actually had something to work with. He did his best but he’s doing his best with nothing. Doesn’t help the score was butchered and dialed out most of the film. I think it’s a good score but it would’ve been great if he had something to work with.

Also terminator fans have been ripping Elfman’s TS score to shreds. They’ve complain that the score hardly uses Fiedel’s Terminator theme. True that Elfman really didn’t use the Terminator theme, but then again this movie isn’t a Terminator movie, imo. More like a Transformers/Mad Max/I Am Legend/many other sci-fi movies. They also claim the score’s “generic garbage” or something along those lines. The score may not be a masterpiece but it’s far from garbage, imo. The movie on the other hand was “generic garbage”. They also complained that the score hardly used synths and electronics. That’s incorrect b/c Elfman blended synths with orchestra. Sure the synth’s aren’t as unique as Fiedel’s but he still used synthesisers. And the score might not be what you expect from a Terminator score, b/c it’s isn’t mostly synthesisers like Fiedel’s two Terminator scores. But it doesn’t mean Elfman’s score isn’t good b/c he didn’t use as much synths.

I also believe the score is Fiedel-esque in some places. Elfman used the synth sound that Fiedel associated with the T-1000 in “The Harvester Returns” track and a few other tracks. Elfman also used acoustic guitars in TS in tracks “Opening”, “Broadcast”, “Fireside”, and “Farewell”, which reminds me of the use of guitars for Fiedel’s T2 score in some scenes. And you could briefly hear a synthesized chorus in the track “Salvation”. Which is the same thing Fiedel did in the T2 main title. And finally Elfman’s main theme sounds like a variation on Fiedel’s own Terninator theme. I liked elfman’s approach with the theme b/c he didn’t just rehash the theme or completely ignore it. He went half way and I think that was very clever of him. I do get a terminator vibe listening to Elfman’s main theme.

I argued with somebody on another thread claiming that Elfman’s score was Zimmer-esque. I almost lost it. But I guess if you use synthesisers you’re automatically Zimmer-esque/MV/RC. Please. This score is better than most MV/RC scores today and the last decade, imo. To associate this score with those (mainly Zimmer and co.’s blockbuster scores) is ignorant and insulting. The last thing this score is MV/RC or Zimmer-esque. If anything this score is Fiedel-esque.

In conclusion, I really like this score just wish it was associated with a better movie. Though it’s far from his best I think Elfman gave a strong effort with the little he was given. This score is better than the craptacular movie, imo. No offense to those who like the movie. But it’s not a terminator movie in my eyes only TINO. The only reason I looked at the movie (which I knew was going to be garbage when I heard McG was directing) was b/c of Elfman’s score. It wasn’t worth it b/c the music was butchered, mixed poorly in some scenes, and dialed out of the film. This is probably one of the worst movies Elfman scored that I’ve come across. In the end Elfman wrote a strong score and gave it his all.

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Old 05-29-2012, 06:57 PM   #171
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Default Re: Danny Elfman Appreciation Thread!

Elfmans score was awful in MIB3 very boring and uninventive.

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Old 05-29-2012, 09:45 PM   #172
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^^Well DaRkVeNgeanCe I can't argue with that, b/c I have yet to see the film(though I plan on it soon) or hear the score for it.

I have read some negative comments on the score on other forums. Some believe the score to be annoying and almost ear bleeding with the posts I've read. Some comments I read have complained about the use of the electric guitar. I think Elfman is one of the best at integrating an electric guitar into his film scores.

To be fair the MIB scores aren't for everybody. The scores are very wacky and schizophrenic in tone. It might put people off b/c of that. Elfman really goes crazy with the scores for these movies. That's why I like 'em so much. There's quite a few from various forums who can't stand the "Worm Lounge #1 (Worms in black)" track from MIIB and believe it to be very annoying. But I think the track is quite fun. I've never been bored with the scores and believe Elfman to be having a blast writing the music b/c he get's to cut loose. Usually when that happens the composer gets to be very inventive.The negative feedback the MIB scores receive never affects my opinion on them.

I'll be honest though I wasn't crazy about Elfman's first MIB score back in '97' b/c I wasn't crazy about the film itself then either. Since the first sequel the score and film grew on me. I even enjoy Elfman's MIIB score more than his MIB. Both fun scores though more or less, imo.

Though I've heard some negative opinions on the score (including yours). I'm still very much looking forward to this. Not b/c I'm an Elfman fan and he finally gets to score a third film, but b/c I'm a big fan of his MIB scores in general. Can't wait to hear what he brings to this one. He's the main reason I'm looking forward to this movie despite the positive reviews it's getting. I know I've said this before but this is the score I've been looking forward to the most from Elfman this year.


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Old 06-05-2012, 06:11 PM   #173
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The 3rd score Elfman scored in 2009 was “Taking Woodstock”. Where Elfman reteamed with Ang Lee to score the indie comedy drama. Taking Woodstock is about Elliot Tiber, whose sort of responsible for the event that happened in Greenwich Village back in ‘69’, and his journey of making sure the event happens in his small town so the businesses there would increase on profit from the concert. Through Elliot’s journey he meets all sorts of oddball characters like Liev Schreiber in ‘drag”, for example. As the event unfolds Elliot does a little soul searching and then Woodstock changes his life. I thought the film was “meh” and the humor was pretty dry. I felt the film was trying too hard to be quirky and funny. Since Ang’s never directed a comedy it’s not hard to believe.

It makes perfect sense why Ang would hire Elfman to score it . Afterall, Elfman started out in a musical theater troupe (The Mystic Knights of the Oingo Boingo) and a rock band (Oingo Boingo). So he knows a thing or two about rock n’ roll. Elfman wrote a score that’s mostly driven by electric and acoustic guitars. It even blends in perfectly with the songs. That sometimes it sounds like a song itself. Though Woodstock was before my time the music Elfman composed sounded like it could be from that era. I’m not familiar with any of the bands that were at Woodstock but I’ve heard from other film score forums, film music sites, and from other reviews that some of the cues were inspired by some of the styles the bands had.

The first track “Taking Woodstock Titles” plays during the main titles of the movie .The track accompanies images and scenery of the small town in Greenwich Village. It captures the emptiness of the small town and quirkiness of it’s townspeople. The music opens with a weird disco kind of sound. The guitar riffs used are very Jimi Hendrix-esque. I don’t know if the instrument is a clarinet or flute that plays in the majority of the track, but it brings a certain peculiarity to the track. It really sets the tone of what the audience are in for. It’s a very comforting track when you listen to it. It’s not typical of Elfman’s style for main titles, which can sometimes be described as dark, wacky, bombastic, loud, heroic, adventurous, spooky, sad, etc. This track is nothing like that.

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Unfortunately “Taking Woodstock Titles” is the only track I could find from the score on YT. I’ll just give my opinion on some of the tracks instead.

“Groovy Thing (Office #1)” is a track that really doesn’t sound like Elfman at all. It honestly sounds like some band performed and produced it. That’s just a testament to Elfman’s talent of blending in and getting out of his comfort zone. It feels like something that came from that era, imo. I think this track played as the townspeople and the musicians set up or something. In the film it’s mixed like it’s playing on a radio in the background to the documentary like footage as everyone is working and discussing things. It’s a very relaxing track that also has a nice (or should I say “groovy”) beat.

“A Happening (Office #2)” uses the same beat as “Groovy Thing (Office #1), but is dominated by the electric guitar, which is performed in the style of Jimi Hendrix . There’s also some other instruments that sound very “disco” like in a good way. Again this is a track that you wouldn’t expect from Elfman. It’s also very upbeat. I can’t recall where this played in the film but it’s another “groovy” track, imho.

“In The Mud” is a short cue that’s again very Hendrix-esque with the electric guitar, which dominates the cue. The guitar reminded me of Elfman’s “The Kingdom”, that’s not an insult b/c I’m one of the few fans of that score. I like that side of Elfman. The track is very gratifying as it reflects Elliot and a large group of fans covered in mud enjoying the moment.

“Woodstock Wildtrack” is anything but “wild”. In fact it’s very pleasant and comfortable. The acoustic guitars really adds to the track’s ease. I can’t recall where this played in the film. Again this track doesn’t sound typical of Elfman at all. It’s a very peaceful track that I wish was little bit longer.

“Happy Guitars” is another amicable track but plays during the finale. The title says it all. The track feels very happy and cheerful with acoustic guitars carrying it.

These are a just a few of the great tracks from the short album. The album as a whole is great. It’s a very pleasant, peaceful, comforting experience musically that’s a delight to listen to. It’s short but soothing, imo. So for those that want to relax and have a friendly listen should check this out.

To those that hate Elfman and believe he can’t write a score out of his comfort zone should check this out. It’s very unlike anything Elfman’s done before. Sure the score isn’t groundbreaking but it’s a real joy to listen to. It shows Elfman does have more range than most give him credit for. A lot might be surprised Elfman wrote this b/c there’s hardly anything typical of his style in this score, imo. I wish there were more cues posted on YT (instead of the titles music) to prove it, but oh well.

The score might not be for everyone b/c it’s very guitar driven and really reflects the music in that era. So if you’re not a fan of that era of music then you might not like it, but hey I’m not a fan or frankly that familiar with that era of music but still enjoyed what Elfman came up with for the film. So you never know.
I think even some Elfman fans didn’t give this score enough attention. And are probably turned off by the approach he took b/c it’s not typical of the style Elfman’s known for, but that’s a good thing.

It’s a very pleasant score that’s not typical of Elfman’s usual style. There’s no dark, mysterious, gothic, bombastic, heroic, circus-y, scary, loud, whimsical moments, or choir, for that matter, in the music. It really blends in with the songs in the film to the point you might not realize that some of the music is actually from the score and not from any of the bands who performed at Woodstock.

I’m glad Ang gave Elfman the opportunity to score this b/c he’s not often given the chance to score indie pictures. It’s nice to see a director for once who has worked with Elfman on a superhero movie actually makes use of his talents in another film unlike some directors. Though this does look like something usually offered to Mychael Danna (another of Ang’s collaborators).

In conclusion, I found Elfman’s Taking Woodstock very enjoyable, relaxing and pleasant to listen to. It puts me in a good mood and cheers me up whenever I listen to it. It’s an overlooked score that people probably didn’t realize Elfman wrote. Those that keep saying Elfman has no range and writes the same thing every movie he scores need to listen to this. I guarantee you’ll be surprise by it. It’s a great lesser known Elfman score even if the film came out 3 years ago.

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Old 06-09-2012, 04:50 PM   #174
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Saw MIB3 this afternoon. Gotta admit it was pretty good. An improvement over MIB2, of course. I was entertained by MIB3. Josh Brolin was great as the young K. Kind of wish the actual ending was better though b/c it didn't tease about the galaxy or universe being larger than we know like the other two did.
Spoiler!!! Click to Read!:
I didn't know that if K didn't tip at Empire Diner an asteroid would come through Earth's atmosphere and destroy NY or whatever. Does K have some ability where he can save Earth from any catastrophic disaster by paying a tip or something? Or is Empire Diner owned by aliens and if you don't tip (or K doesn't) Earth could get destroyed by a catastrophic event? I guess I'm looking too much into it.They should've just ended it with the camera panning through Griffin and we see all these different or alternate moments through time.


I also wish we could've seen more of how MIB was back in '69' how they operated then, how different the headquarters was then and so on. We only saw how primitive the gadgets were compared to the present's. But I guess there wasn't much time for that since J was racing against time to save K. I enjoyed it more than I expected. And it actually felt like a movie unlike MIB2 where I sat down and before I knew it the movie was over before it even started.

I thought Elfman's score was good in the film. Have yet to hear it seperate from the film. Disappointed that he didn't get to score a main title sequence unlike the previous two. Burton played a song over the main titles of DS (though that worked it robbed Elfman of writing something interesting). I'm sad to say in this day and age main title sequences for blockbuster movies are really coming to an end. I also didn't like how they tracked in snippets from the other two scores in a few scenes either, but I guess that's sony for you. Though I like this score it didn't feel as fresh as his MIB 2 did to MIB. The electric guitars in the score didn't bother me either . It was used sparingly and fit perfectly with the tone of this one. So the score wasn't awful, boring, or uninventive like DaRkVeNgeanCe believes, but that's his opinion. I liked it and can't wait to purchase this one.


Last edited by Elevator Man; 06-09-2012 at 05:51 PM.
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Old 06-13-2012, 06:36 PM   #175
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http://www.classicfm.com/music-news/...-movie-career/

11 minute radio interview(classicfm) in London I believe. A very good interview though short. I wish the host had asked him about his experience on MIB3. But I'm glad Elfman's trying to get "Rabbit & Rouge' recorded and possibly released finally. I've heard good things about the music and would love to hear it. I also can't wait for his upcoming chamber music project he's been planning for a while now.

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