Rammi and Elfman?

Brain Damage

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I was hoping someone could shed some light on what exactly went wrong between Sam Rammi and Danny Elfman during Spider-Man 2 that had caused their splinter?

It must have been quite serious considering that Elfman has firmly stated that they will never work together again, and I even read somewhere that while scoring the film he felt in a state where he didn't even want to keep on making movies.

Does anyone know the full story behind this/know of any interviews where either of them discuss it?
 
From what I understand, Sam wanted things to sound a bit like Hellraiser (by Christopher Young) in Ock's demonstration and Elfman basically said "you want Hellraiser, go get Young" so that's when Young came in. Hellraiser's theme is ridiculously similar to Young's score in that part.

Basically Raimi had very distinct ideas about what he wanted and where, and Elfman got a bit fed up. I know there are quite a few tracks in the extended score that were altered for the final film (to me, mostly for the best), and some that weren't even used and Young overscored the scenes.

I think both of them had valid reasons for their behaviors, but I think they should have compromised. Raimi is the director and does have a great say in what the music should be, but Elfman is the expert in that area. Like I said, most fighting seemed to come from them not agreeing on some things music-wise.
 
I remember Elfman was very shocked about Raimi's reaction. I recall Elfman saying that he wasn't sure who Raimi was anymore.

Not saying Raimi was the bad guy here, it's just what I remember from that interview. Never heard raimi's side.
 
From what I understand, Sam wanted things to sound a bit like Hellraiser (by Christopher Young) in Ock's demonstration and Elfman basically said "you want Hellraiser, go get Young" so that's when Young came in. Hellraiser's theme is ridiculously similar to Young's score in that part.

Basically Raimi had very distinct ideas about what he wanted and where, and Elfman got a bit fed up. I know there are quite a few tracks in the extended score that were altered for the final film (to me, mostly for the best), and some that weren't even used and Young overscored the scenes.

I think both of them had valid reasons for their behaviors, but I think they should have compromised. Raimi is the director and does have a great say in what the music should be, but Elfman is the expert in that area. Like I said, most fighting seemed to come from them not agreeing on some things music-wise.
Very true.
 
I don't know...if I had the privilege of working with Elfman, I would hesitate before I someone as applied a criticism, let alone telling him to borrow/plagiarize wholesale from another composer. Elfman should have pulled a Jack Palance on Raimi, like Palance did to Burton: "I've done over (x) amount of films....how many have you done?"
 
I read they have smoothed things over since and Elfman is attached to Raimi's Oz movie (I think?)
 
^^ This is very true from what I've heard as well. Good to know!
 
Speaking of Oz: The Great and Powerful, has anybody found an interview with Elfman or Raimi that maybe one of them had recently? Just curious. :up:
 
Tahnks to ddddeeee for sharing this video, where Raimi finally opens up about his feud with Elfman. @ about 14:25

[YT]AG1uQqqI5Uc[/YT]

I'm glad he and Elfman moved pass that and reunited. Young's Spider-man 3 score was severely lacking due to Elfman's absence, imo.
 
I loved Spider-Man 3's score. I was so happy they kept the themes from the first two films. It really ties it together as a trilogy when it is consistant. Batman with Zimmer did it as well. Shame X-Men and Iron Man have scores all over. At least they are good scores though.
 
So Elfman would've scored Spider-man 4 if it got off the ground.

What was it that drew you to Oz The Great And Powerful in particular?
Well, it’s not really what drew me, I mean the fact is that Sam and I, you know, we had a little period where there was a not working [together] moment, and then both of us decided, "Ah, forget about this". We got together and he said, "I really missed you on my last movie", and I said, "I really missed you too!" [Chuckles] and he said well let’s do the next one together – at that point it was going to be another Spider-Man. So he asked if I wanted to do the next one, and it was great, because I love Sam and I’ve known him for a long time, and the next thing I know, as soon as I agree to do that, Sam’s off the picture and that was that! [Laughs]

So I thought ‘so be it’, but at least with Sam it didn’t take long, and soon I got a great project [with Oz]. He told me about it and I was like, "Really? Count me in!" I mean musically speaking, what’s not to like? It’s just sounded really interesting.
http://www.denofgeek.com/movies/248...raimi-burton-batman-more#.UUg1rtgubUc.twitter
 
I loved Spider-Man 3's score. I was so happy they kept the themes from the first two films. It really ties it together as a trilogy when it is consistant.
Indeed. It was a no brainer.
 
Elfman back is another reason for me to mourn SM4. I thought Young was a fine replacement though. If I didn't know the composer had changed, I wouldn't have noticed. He kept the tone and added some great new themes.
 

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