So, exactly how much music is Chris Young composing?

[lonzoe]

Your analysis was spot on the original cue that Elfman wrote for the kidnapping scene Danny Elfman. I couldn't have said it better myself . It's like we're on the same page. Visionary and the rest of you ELFMAN HATERS are just angry because he is getting a lot of work still. I hope he continues to get a lot a work. All that repetitive circus is a bunch of BULLS--T and you know it. I bet you guys don't even have any of Elfman's scores other than the superhero scores he composes.I agree with the people that said that the Harry and Peter music sounded like "Runaway Trash oops I mean Train". Young is a joke. He's waaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaay too cartoony. That goes for anything he writes.I know that scene was over the top but at least try do something instead of making cartoony looney toony noises. I gaurantee this score is going to be bombastic and a NOISEFEST. Just like that BULLS--T he wrote for The Demonstration and Runaway Train. He got lucky because he bends over like a little B--CH. Unlike Elfman. I still give the music for Spidey 3 a shot. I'm not a Young hater.I'm just not impress by his music in anything he does. His music is just there to me. Even in the Helllraiser movies he scored . I'll brace myself for the score and movie. By the way Visionary and the rest the ELFMAN HATERS I bet if a three year old wrote music for Spidey 3 you'd be happy because you guys were easily impressed by that campy,goofy ,over-the -top cue for Spidey 3. That's proves my point that you don't know S--T about music. If Elfman isn't writing the music that means the music is good. Thats all you F--KS care about. Man youi haters P---ED me off today.

 

[Danny Elfman]

Oh, very fun and ironic fact :
the music playing at the end of Peter and Aunt May scene is "Aunt May Packs", a rejected cue from SM2 written by Elfman. If it's stay in the final cut, that would be the final proof that Raimi went completley crazy about the music for the series.

 

[Mr. Socko]

I didn't know you were a member here Danny.

 

[Danny Elfman]

I didn't know you were a member here Danny.

I wish...t:

 

[Kent]

Your analysis was spot on the original cue that Elfman wrote for the kidnapping scene Danny Elfman. I couldn't have said it better myself . It's like we're on the same page. Visionary and the rest of you ELFMAN HATERS are just angry because he is getting a lot of work still. I hope he continues to get a lot a work. All that repetitive circus is a bunch of BULLS--T and you know it. I bet you guys don't even have any of Elfman's scores other than the superhero scores he composes.I agree with the people that said that the Harry and Peter music sounded like "Runaway Trash oops I mean Train". Young is a joke. He's waaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaay too cartoony. That goes for anything he writes.I know that scene was over the top but at least try do something instead of making cartoony looney toony noises. I gaurantee this score is going to be bombastic and a NOISEFEST. Just like that BULLS--T he wrote for The Demonstration and Runaway Train. He got lucky because he bends over like a little B--CH. Unlike Elfman. I still give the music for Spidey 3 a shot. I'm not a Young hater.I'm just not impress by his music in anything he does. His music is just there to me. Even in the Helllraiser movies he scored . I'll brace myself for the score and movie. By the way Visionary and the rest the ELFMAN HATERS I bet if a three year old wrote music for Spidey 3 you'd be happy because you guys were easily impressed by that campy,goofy ,over-the -top cue for Spidey 3. That's proves my point that you don't know S--T about music. If Elfman isn't writing the music that means the music is good. Thats all you F--KS care about. Man youi haters P---ED me off today.

Maybe you should calm the hell down.

 

[Secret_Riddle]

Young does really great action scene music, i loved his train sequence and i loved his goblin sequence, really great stuff.

 

[rockportspidey]

I didnt have a problem with any of the music shown in the clip. I think Young will do just fine using Elfman's themes as well as with his own stuff.

 

[McDermott]

I hope that will answer your questions. The producers decided to retain three of Elfman's themes:
1. The Spider-man heroic theme.
2. The Green Goblin theme, for Harry Osbourne
3. the "Fate" theme from the second movie.

Young did all the themes for the new characters in this third movie. Sandman, Venom, the black goo has a theme, the black suited Spider-Man, the new romantic theme, a whole bunch of new themes.

Best,
Dom

BTW, the cartoony style is what the producers and Sam Raimi want!

 

[zanos]

First of all : What I'm asking you is to STOP mixing up your taste in terms of music with facts you can't prove.

Elfman is not able to write music for an action scene ?
Ok. I'm an editor and I write music for short films; of course, it doesn't mean that my point of view is more elaborate than yours but it means that I know what I talk about when it comes to rhythm in a film (though I still have many things to learn, let's stay modest ! ).



Let's take an example here from Spider-Man 2 : Doc Ock throwing the car in the restaurant and taking MJ as an hostage. I'm referring to the original music here, written by Elfman and not to what you can hear in the film, even though it is almost the same cue. I'll try to upload this to youtube to make my analysis more understandable.

It starts with very low strings in tremolo and col legno announcing the danger to come, in a very classic horror fashion. Then the "Action Theme" of Doc Ock, the one you're calling "circus music" kicks in in all its grandeur, the brass section literally screaming the notes. It's not a very melodic theme (Doc Ock main's theme is a much more elaborate musical sentence) but it is the point: it goes with Doc Ock's steps. It's not circus music; it's a march because it is the essential visual element of the villain. The theme can be analysed as an 8-notes modulation around their octaves; it is NO accident: 8 notes ("legs") for 4 octaves (Doctor Otto Octavius). So not only, Elfman finds the musical signature of the villain’s march but he even manages to actually represent the character in the musical writing. You can also note that the beginning of the musical sentences matches with the evil arms of Doc Ock touching the ground.

After this impressive establishment of the Action theme, we come to more quiet moments but fill with tension and mystery. First, there's a sort of aerial part as Doc Ock lands to the ground. Next, we get the the Main theme of the villain, the more melodic one. Basically, it's a very brief diminished motif followed by a dark, twisted sentence, mainly descending, an expression of the disorder in Octavius' mind. While the Action theme only works with the images of Doc Ock moving, the main theme can be modulated in many harmonics, getting heroic, dark, tragic, intense, weak, mysterious as much as Elfman wants to; as a matter of fact, the composer doesn't delivers this theme twice the same way, always changing the orchestration, the tempo or the harmonics.
After that, there's an "ending motif" that usually closes Doc Ock's musical world. Here it is played in a very dark way, like a representation of the Armageddon to come. Elfman is actually saying to us what is coming up in a very subconscious way. He also mislead us, letting us think that a Spider-Man theme will come up saving the situation... but the timpani kicks in, to bring us to a second statement of Doc Ock's Main theme by the brass section, very heroic and stable : this time, the villain is winning. Elfman brings back again the ending motif but the this time reverse it's original intention: it's not closing but opening to the second part of the cue, the escape of Doc Ock with MJ.
The strings are getting nervous, establishing the rhythm of Ock's plans. As they're getting more wild and aerial and as MJ screams, Elfman comes up with a variation of the Main Theme that goes with the moments where Doc Ock disappears in the immensity of the city (right after the hospital scene or after his little chat with Harry on the roof, etc.). Here, the brief initial motif is replaced by horns and trombones screaming two notes representing the plans of the villain coming to life and the wind blowing on his face while he escapes quickly through the buildings.

Finally, we come back to Peter stuck in the restaurant. As the camera flies close to ground, rushing to Peter, the strings accelerate, giving the movement of the camera more strength. Peter emerges and Elfman chooses, instead of quoting any Spider-Man theme or motifs, to quote for the last time Doc Ock's Main theme as a warning to Peter: you'd better act fast or everything will be lost.
When Peters comes out of the restaurant, he realises that he can see without his glasses. While he’s wondering what is going on, Elfman writes a very ethereal variation on the Peter Parker/Responsibility Theme. He does quote it at first with its usual orchestration (mainly horns and strings) but moves very quickly to a more undefined take, as Peter tries to figure out what is happening. Being totally able to see now, he understands that he’ll have to fight again and that he’s ready. The music slowly grows to that direction and while Peter let his glasses fall, Elfman proposes a very simple but effective variation of the ending of the Main Title (and not a direct quote of the “Revenge” cue from the first film; that’s Raimi playing with the temp track again). It’s a very logical choice: Elfman always summarize in his main titles the entire main plot, giving us hints of what we are going to experience. The ending of the main titles was, in the development of the cue, the hero’s birth, the moment where Parker, at the end of the first film becomes Spider-man (this idea is quite obvious in the main title of the second movie, where the visual and musical moment are linked by Elfman and Ross’ drawings). It is only logical that Elfman decide to use a variation around this musical ending for the end of the restaurant sequence: at that moment Parker IS Spider-man again.



And I could analyse every single sequence of the film the same way and also every other Elfman’s score. Besides, I’m not the only one doing that, you should check out Halfyard’s book “Danny Elfman’s Batman”. You’ll understand how complex Elfman’s writing is.

Do you understand now the difference between not liking Elfman’s style (which I understand perfectly) and saying that he can’t write film score without being repetitive or out of context ? Because, that’s just not true : not only he does write a huge variety of scores in many genres, always trying to fit the action (and that means sometimes underlining it, sometimes letting the images do their job because they’re good enough on their own) but he’s one of the best doing this job out there.

I don’t like Young’s music for the Harry/Peter chase but you won’t hear me say that he can’t compose or that he’s unable to follow what’s happening on screen because it’s not true. His music works; it just doesn’t represent to me what makes film music so exciting. A huge difference.

Maybe on a professional level you can analyze his music and say he can compose for an action scene but music is more than that. If ppl don't feel it they don't feel it. It doesn't matter how technically right Elfman is. If the only thing the audience sees when his music comes on is acrobatic elephants and clowns juggling flaming bowling pins in their heads then the music becomes a moot point in the film.

 

[Danny Elfman]

Nice try but it won't be enough to convince me lol. Let me remind you that you're not an audience on your own...
'Cause if you ask me, the audience doesn't really care about the music and 98 % of the people won't notice the difference between Elfman and Young...

 

[Spider-ManHero12]

It's good to hear the peter and mj theme is back. first of all, I know young is composing most of this film but by the sounds of the music I think elfman did those. hear it and you will notice that it sounds just like elfmans version which is something very entertaing. though to be honest I'm not saying it's not young but elfman is involved with this film so I don't see why that couldn't be elfman doing the peter and mj song. in fact I believe that it's sort of a 50/50, elfman does half of the film and young does half though I could be wrong. but yeah I want elfman to compse all of the film and if not all then atleast alot of it.

 

[fabman]

Well, as far as I know Christopher Young is adapting Danny Elfman's themes. But in the fight scene you def hear that it's Elfman composing. I just hope that Christopher Young can make a score as good as Elfman's. I've liked what I've heard but it was just, like, five mins.

 

[Mr Jide]

Your analysis was spot on the original cue that Elfman wrote for the kidnapping scene Danny Elfman. I couldn't have said it better myself . It's like we're on the same page. Visionary and the rest of you ELFMAN HATERS are just angry because he is getting a lot of work still. I hope he continues to get a lot a work. All that repetitive circus is a bunch of BULLS--T and you know it. I bet you guys don't even have any of Elfman's scores other than the superhero scores he composes.I agree with the people that said that the Harry and Peter music sounded like "Runaway Trash oops I mean Train". Young is a joke. He's waaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaay too cartoony. That goes for anything he writes.I know that scene was over the top but at least try do something instead of making cartoony looney toony noises. I gaurantee this score is going to be bombastic and a NOISEFEST. Just like that BULLS--T he wrote for The Demonstration and Runaway Train. He got lucky because he bends over like a little B--CH. Unlike Elfman. I still give the music for Spidey 3 a shot. I'm not a Young hater.I'm just not impress by his music in anything he does. His music is just there to me. Even in the Helllraiser movies he scored . I'll brace myself for the score and movie. By the way Visionary and the rest the ELFMAN HATERS I bet if a three year old wrote music for Spidey 3 you'd be happy because you guys were easily impressed by that campy,goofy ,over-the -top cue for Spidey 3. That's proves my point that you don't know S--T about music. If Elfman isn't writing the music that means the music is good. Thats all you F--KS care about. Man youi haters P---ED me off today.

Silence, dumbass

 

[Warhammer]

I really like the updated Goblin theme.
From 3:38 - 3:48 in that clip was great.

 

[Danny Elfman]

It's good to hear the peter and mj theme is back. first of all, I know young is composing most of this film but by the sounds of the music I think elfman did those. hear it and you will notice that it sounds just like elfmans version which is something very entertaing. though to be honest I'm not saying it's not young but elfman is involved with this film so I don't see why that couldn't be elfman doing the peter and mj song. in fact I believe that it's sort of a 50/50, elfman does half of the film and young does half though I could be wrong. but yeah I want elfman to compse all of the film and if not all then atleast alot of it.

Elfman is not involved anymore. He was supposed to write the themes for the new villains but it seems that the gap between him and Raimi was still too important (there won't be an happy ending like with Tim Burton).
The romantic theme is a cue from the first film so it's normal that it sounds elfmanish : it is Elfman !

 

[gdw]

I thought Elfmam came back. What happened with that?

 

[Danny Elfman]

No one really knows. Word is that Elfman worked with Sony and not with Raimi but I wouldn't be surprise it's just gossip that became almost official lol...

 

[Paste Pot Pete]

I'm not sure exactly what it would entail, but I'd like to hear some progression from the Spider-Man theme to the black suit theme to the ultimate Venom theme.

I think it'd be awesome if Venom's theme sounded like an f'd up, sinister, aggressive version of Spidey's theme.

 

[War Party]

I'm not sure exactly what it would entail, but I'd like to hear some progression from the Spider-Man theme to the black suit theme to the ultimate Venom theme.

I think it'd be awesome if Venom's theme sounded like an f'd up, sinister, aggressive version of Spidey's theme.

Why did you call him ultimate venom?

 

[Catman]

The train sequence in Spidey 2 was written by Young himself.

What Young wrote was repetitive and uninspired. Here's Elfman's version:

http://www.youtube.com/watch?v=QNaMn2CSHx0

Not much original music, Young is creating original music for Gwen Stacy, The Symbiote, Eddie/Venom, Marko/Sandman and other action scenes consisting of these characters (this includes the construction site battle)--how is that not original music?

Lets wait and see. The fact that Elfman's love theme is back means Young's love theme was rejected or maybe he just lied.

Ever stop to think that the old themes may be "temp" music until the newer themes are completed ?

Just saying.............

Nope. We're LESS than two months away from the released. And, the fact that we already have original music in the 7 minute clip means that the music is done. They're probably doing mixing, a final screening for the studio, making copies, and shipping the copies.

 

[War Party]

I love Danny Elfman. I wish he was still scoring the film. But I guess we're stuck with Young. He's good, but he ain't Elfman.

 

[Catman]

I love Danny Elfman. I wish he was still scoring the film. But I guess we're stuck with Young. He's good, but he ain't Elfman.

My thoughts exactly.

 

[Danny Elfman]

Hey, I did that youtube clip lol. Recently I reincorporate every single original cues written by Elfman for the film and planned to post the result on youtube but Windows crashed and I have to start all over again. It doesn't take too much time but I have to work on my own projects for the moment lol...

Catman, as said before, maybe they kept the love theme for Peter and MJ, with Young only writing a theme for Gwen. And the music is maybe not completely recorded yet.

 

[Visionary]

What Young wrote was repetitive and uninspired. Here's Elfman's version:

http://www.youtube.com/watch?v=QNaMn2CSHx0

Horrible, typical Elfman music found in most of his scores throughout the decade, now we know why it didn't make the cut. I told you, the man can't score action scenes. And we all know Elfman is the King of repetitive music. Thus, is why they didn't play the Spider-Man Movie Theme during the Oscars when Tobey/Kirsten presented, instead, they went with the classic 60s music. You wanna know why, because the audience would have thought, why are they playing Batman's music...and where's Michael Keaton?

Lets wait and see. The fact that Elfman's love theme is back means Young's love theme was rejected or maybe he just lied.

Hello, Gwen Stacy/Peter Parker's theme. That's the new romance theme that he speaks of.

 

[Catman]

Hey, I did that youtube clip lol.

Thanks. We've posted that clip a million times here.

And the music is maybe not completely recorded yet.

Perhaps, but I doubt it. We're less than two months away from the release. After the recording is complete they have to do the final mix, which means trying to blend in the sound effects, dialogue, and music. They'll probably screen for the studio the final product. Then, they have to make copies of the movie and ship it all over the world.