Not only is he supposed to be there, he's going to be singing live for the first time in nearly two decades. This is his first live vocal performance since Boingo broke up in '95. If I had a fortune, I'd fly straight on over to London to see it. But alas, when you make minimum wage, the chances of that happening are very slim.
Well the winners for the IFMCA awards were announced today. Elfman only won one out of his three IFMCA nominations, which was for film composer of the year. In the best orignal score for a comedy film category Elfman's "Silver Linings Playbook" lost to Walter Murphy's "Ted". In the best original score for an animated feature Elfman's "Frankenweenie" lost to Alexandre Desplat's "Rise of the Guardians". I'm happy that Elfman won at least one of his three nominations. And for film composer of the year at that. A nice way to honor his six scores of 2012. Though I've only heard three of those six scores, but I'm sure the award was well deserved. Congrats to Mr. Elfman on his win.
Pertaining to Oz, Mila Kunis was just on Conan to promote the film, and brought a clip with her. It was a very quiet clip - just a dialog between her and James Franco - and a small selection of Elfman's score. It wasn't enough to make a final judgement, but what I heard sounded very reminiscent of Alice in Wonderland. The clip is sure to be online by tomorrow, in which case, I'll make a post with the link.
Another Elfman interview for Oz: The Great & Powerful.
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I'm glad to see Elfman excited to work with Raimi again. Seeing him excited has me anticipating this score even more. Curious to hear his "Wicked Witch" theme and how it stacks up with the original and iconic 1939 "Wicked Witch" theme.
Well it looks like the physical cd for Elfman's Oz:The Great & Powerful is available for order at Intrada's website. For those who haven't downloaded it off iTunes yet anyway. It's 19.99.
Fellow Elfman fan ddddeeee posted this Raimi interview (where he's promoting Oz) on another site. At 14:25 Raimi finally opens up about his "falling out" with Elfman. I know it is almost a decade since the feud, but I'm glad they both patched things up. I remember being heartbroken when Elfman didn't return for Spider-man 3.
Two new Elfman Interviews one by Empire and by Den of Geek. In the Empire interview he even talked about his two Batman scores and gave his thoughts about Zimmer's as well.
Going back in time to your work with Tim, and Batman in particular, it's strange to remember that pre-1989 Batman meant Adam West...
Yeah! The thing about Tim's first four films was that I had nothing to go on. There was nothing to tell me what type of film Pee-wee's Big Adventure was going to be. Beetlejuice: nothing. The same for Batman. They wanted it to sound like John Williams' music but I don't do that - only John Williams can do John Williams - so I had to find another language for it. Same again on Edward Scissorhands: there was virtually nothing to look at. All Tim's early films were like starting out in complete darkness. There wasn't a genre of film to model anything after.
What did you want to achieve with Batman, as your first non-comedy score?
Well, I really just wanted to try to nail the tone of the film, and the tone was much darker than superhero films had been up to that point. Batman was just so much more weird than that, on so many levels, that trying to find some sort of language that would work for that was tricky.
The Joker has a waltz, like your Oz witches.
Yes, in fact I was just listening to that. I'd forgotten I'd written that. I don't even know what inspired it or why I wrote it.
It wasn't something that came from Tim, that he needed something for the Joker to dance to with Vicki?
I'm sure we did talk about it, but I don't remember the conversation. I think the idea was to make it a big, grand dance, yes. I'm sure I didn't come up with it on my own. Tim must have been imagining something in his head. There are quotes from [1860s parlour song] Beautiful Dreamer in there too, because that really is something that the Joker is... ohhh, I don't remember! Did the Joker kind of half sing that at one point? [Empire: Errr, no?] I can't remember. It's so long ago. You're catching me off guard here! I haven't seen Batman in a couple of decades.
Can you remember why you made the theme a march?
I can't, but I must have written dozens of themes, and that was one variation. It was a series of experiments, and that was the one Tim really responded to. I don't really have much of a process. I just do what I want, and still to this day I don't really think about it. When I'm doing something I don't really understand why I'm doing it at all. It usually makes sense a year or two later, but at the time it never does!
Was the second one even harder?
No, the second one was just fun, because I already had the theme and I was able to do variations on it, and I realised what fun it is to find a theme I like and just play with it. I'd have killed to do thematic variations on Beetlejuice and Edward Scissorhands. I could keep going on those for ever. I was a lot more confident on Batman Returns. I was probably up to about twenty films at that point, and a few of them had been big ones. I was able to relax and be a bit more confident, and there was nobody at that point trying to push me off the film! I didn't have to claw my way into my spot and hold on for dear life any more! The first one was like holding on to a freight train that was out of control. The second one was my territory, and I just had fun with it.
What do you think of Hans Zimmer's Batman scores?
I think he did a fantastic job. What Nolan did was great and really took it into a whole different realm. After Tim, those films were really a mess. When I heard they were reviving the franchise I was like, 'Oh god, really? Can they get even more ridiculous now?' And instead it was the opposite, which was really smart.
I enjoyed the Den of Geek interview as well, but what really caught my eye was that Elfman and Raimi were going reunite on a project before Oz and it would've been Spider-man 4. So they both patched things up sooner than we thought.
What was it that drew you to Oz The Great And Powerful in particular?
Well, its 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 lets 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 Ive known him for a long time, and the next thing I know, as soon as I agree to do that, Sams off the picture and that was that! [Laughs]
So I thought so be it, but at least with Sam it didnt 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, whats not to like? Its just sounded really interesting.
Epic seems like a Varese Sarabande release and they've only announced their releases for as far as the 7th of May so we should get news in two weeks or so.
On the topic of Epic
"The director also pointed out that the exciting, score for the film was composed by none other than Danny Elfman, and that its a throwback to the music of classic Hollywood action movies."
I saw Oz earlier today, and I very much enjoyed Elfman's score. There were some parts that felt a little too by-the-books for me, but there were times when I could tell Elfman was having fun with the music. I also love how Oz's theme sort of quotes "O Canada."
To be fair Elfman's mellowed so much over the years that even if he hated the scores and movies he wouldn't say so. I dare say mid-90s Elfman would have a different view.
I remember in another interview a few years back he said he thought there were some similarities between the TDK score and what he did and it made him feel validated about his original ideas.
To be fair Elfman's mellowed so much over the years that even if he hated the scores and movies he wouldn't say so. I dare say mid-90s Elfman would have a different view.
Just listening to Batman 89 Soundtrack, its very beautiful especially how Joker parts played well. Still favourite is Descent into Mystery and the Batman Theme.
I just got done listening to Elfman's Oz The Great & Powerful score from Intrada. I enjoyed it very much. I saw the movie the Monday after the weekend it came out. Didn't feel like giving my thoughts on it. Until now. It wasn't terrible, but it wasn't great either. I found it to be decent at best b/c I came in with low expectations. It wasn't anything special. This film is no where near Raimi's best, imho. That's three films straight from him that haven't impressed me much. I've heard people say that the movie was better than Burton's AIW (and I agree), but that isn't saying much to me. I found Burton's AIW overall pretty "meh". That's another movie showcasing that the director has done better. The reason I say "that it isn't saying much" b/c you're comparing Oz to a rather weak fantasy movie. That tells me right there how good Oz really is. If somebody said it was better than or rival the '39' Wizard of Oz or any of the LOTR movies than that would be saying something, but Burton's AIW wasn't a huge leap to get over, imho. Though I wasn't expecting much from Franco to begin with, I found Franco's performance so-so, which isn't a good thing if he has to carry the movie. Kunis wasn't annoying or terrible as I thought she'd be but her performance wasn't anything special.
And that's a shame for an iconic villain. Imagine if Heath Ledger gave a so-so performance for the Joker (which he didn't, imo, he brought new life to the iconic villain) we would've missed an amazing performance and portrayal. I wish Kunis would've done the same thing but she fell short, imo. I'm gonna be honest I knew she miscast for the Wicked Witch anyways. But it would've nice if she'd surprised me and proved me wrong.
Michelle Williams gave a great performance, which is probably the best in the movie. I thought Rachel Weisz did the best with what she was given. The movie didn't blow me away it was by-the -numbers as well. The special effects though far from groundbreaking wasn't too bad either. The best I can say was the movie was entertaining, but won't be hailed as a classic. It had the potential to be something more, but couldn't reach it.
I thought Elfman's score was excellent in the film. I enjoyed it even more on the Intrada cd. The highlights for me on first listen were "Main Titles", "Fireside Dance", "Treasure Room/Monkey Business", "China Town", "A Con Job", "Glinda Revealed", "The Munchkin Welcome Song" (which was sung and performed by Elfman himself), "Bad Witch", "The Bubble Voyage", "Great Expectations/The Apple", "What Army?", "Theodora's Entrance/A Puppet Waltz", "Bedtime/The Preparation Montage", "Oz The Great and Powerful", "Time for Gifts", and "End Titles".
I like the main theme it sort of reminds me of Elfman's main theme for Charlotte's Web, which isn't a bad thing, and some of his Cirque Du Soleil: Iris material. In fact some of the "whimsical" moments of the score is in the vein of his Cirque Du Soleil:Iris. Some have complained about the main theme sounding like "O Canada". I'm not that familiar with that piece, but I know it's the Canada anthem. After I heard the complaints I checked it out a couple of times on YT before I saw the film. I really couldn't tell. There's maybe a hint of resemblence but I don't notice it to be honest. I'm sure it was a coincidence on Elfman's part. I think b/c of the "royalness" (if that's a word) and "grandeur" iof how the main theme is played in some tracks. It might sound like "O Canada" to some. That's just my opinion on the matter.
The main theme is very well utilised in the score. He creates a music box version of it, which has purpose being there if you've seen the movie. It's not just typical Elfman. He does a "grand", "mighty", and "majestic" variation of the main theme for the Oz character that makes the character more larger than life than he actually is. He also did a "darker" and "sinister" variation of it for the Wicked Witch. Thats right Elfman creates his own Wicked Witch theme. You can also hear the main theme in "The Munchkin Welcome Song" as well. So he makes great use of the main theme throughout the score.
There are other themes I've noticed. Like the love theme or Glinda's theme since it plays as Glinda's first Introduced in Oz. As well as her doppleganger version (Annie) in Kansas (Oz's lost love I guess). It's underused (as is the actual romance between the two characters was underdeveloped), but it's a "tender" and "sentimental" theme that gets the job done.
I think he wrote a theme for the China Doll you can hear when she's intoduced in the movie. Also I think when Oz tells her a bedtime story. Like I said I've heard it once so far. So I'm not quite sure if that's a theme or not. It almost sounds like a lullaby especially in the track "Bedtime", which makes sense in the film why Elfman did that.
I think The Wicked Witch not only has a more menacing and grim variation of the main theme, but I think Elfman gave her a seconadry theme as well. I might be wrong. On repeated listens I'll know for sure on this as well as if there's a China Doll theme/motif.
For 66 minutes the album is very well paced. Though I can tell cues were missing since Elfman wrote 115 minutes of music. I still enjoyed it none the less. Again as cool as it was that Elfman got to write end credits music. I wish it was longer like 5+ minutes instead of nearly 2 minutes. I would've love to hear him explore more of the themes I was talking about in a nice suite but oh well.
Imho, I think Elfman hit this one out of the park. The main theme is very catchy. It's playing in my head as I type this. The score didn't feel to me like an AIW knock off eitehr. What's funny is whoever designed the booklet really paid attention AIW's cd booklet. That's Disney for ya.
Well since there's still isn't any news on a score album for Epic. I thought I'd bring up another Elfman score that looks like will get an album release. Though it was originally released digitally, but looks like Amazon's releasing a "Promised Land" import cd on April 23 (next Tuesday). I think that's awesome. I'll have to check out the movie someday first though, but I'm glad somebody decided to release a physical cd and not just digitally.
So I saw Sommersby for the first time yesterday. I've been meaning to see it since I heard a few cues from the film presented on Elfman's Music For A Darkened Theatre Vol. 2.
The movie set in the 1800s, which is actually a remake/re-adaptatiion (if that's even a word) of "The Return of Martin Guerre" 1982 movie, which I haven't seen. Sommersby is about a rich farmer (Jack Sommersby played by Richard Gere) who leaves his family to fight the American Civil War. After many years he was presumed dead. Leaving his wife (Laurel played by Jodie Foster) to tend the farm herself throughout those years becoming nearly bankrupt and poor. When Sommersby mysteriously returns, Laurel and the townspeople see a side of him they hadn't seen before he left. And most came to the conclusion that the war changed him. As his friends and neighbors start embracing this side of Sommersby his past (from the war) comes back to haunt him bringing into question if he's really Jack Sommersby. I won't go any further into the plot. I don't want to give too much away if you haven't seen it.
Though these type of movies aren't normally my cup of tea I still enjoyed the movie very much. I thought Gere and Foster gave great performances. The cinematography was also great, though I saw it in full screen sadly. I thought it was a well paced movie. There wasn't a dull moment for me. And eventhough I already knew the ending (thanks to Elfman mentioning it in the liner notes from the MFADTV2 album) it still didn't take the effect away from the ending or film. I also think it's quite underrated and overlooked. I hardly ever see the movie on TV or cable. I recommend it to those who haven't seen it already.
Now onto Elfman's score like I said before I heard a few cues from the film on MFADTV2 many years ago. And found it to be unlike anything Elfman wrote at that period in his career. It was also very effective in the film itself. The score sounds like something you'd expect from Goldsmith, Williams, and John Barry. And that's a compliment. The score still retains Elfman's style just isn't in his typical style. His score has a southern/americana feel that is at times grim, haunting, somber, tender, and lush. It's probably one of Elfman's most romantic scores. I think he was definitely robbed of an oscar nomination for this one. He should've been rewarded with at least a nomination for getting out of his comfort zone. The score was a game changer for him proving to Hollywood he can score more than just gothic fantasies, quirky comedies, and superhero movies.
The use of acoustic guitars (I believe) was very effective in the score. He's continue to use 'em in such movies as "Big Fish", "Charlotte's Web (2006)", "Spider-Man 2" ("Aunt May Packs"), and "Terminator Salvation" even to name a few. It showed a side of Elfman people hadn't heard at the time. It would be nice to see or hear him score a period piece movie again. It's a shame he hasn't been given another opportunity to.
And yes I consider this score another masterpiece for Elfman. Hopefully someday the score will get a reissue expansion by some label. So I can finally own the actual album.
For those who haven't heard this score here are a few cues to give you a taste of the ind of score you're in for.
Nice bit of trivia in the "Main Titles" (it's titled "Main Theme" on the YT video) @ 0:59 seconds to 1:18 seconds the Regency production company used that snippet of the cue for their logos music. I rememeber being very surprised when I first heard that. And thinking to myself "Wow!!! Elfman was the one who wrote that!!! "
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I know the movie is 20 years old but it feels timeless. So check it out if you haven't. I think it's an underrated movie with an excellent score by Elfman.
I finally listened to Proof Of Life, which I got my hands on recently. It's hard to find and out of print in most places that carry soundtracks. I saw the forgotten 2000 film many years ago and liked it. The score is very ambient and textural. It's sort of a precursor to Elfman's POTA and Hulk scores. Some of the tracks have an ethnic/Latin tone capturing the jungle atmosphere in the film. I recall hearing two (maybe three) themes/motifs. It's very dense and will take me a few more listens to be sure.
This score definitely isn't for everyone. It's heavy with the ambience and minimalism. It's not really a pleasant and uplifting score but somber and melancholic. And that has a lot to do with the subject matter in the film, but there is a sense of hope and peace in one or two tracks. The album is only 30 minutes long with 9 tracks. So it might be too short or just about right for some. Even Elfman fans aren't crazy about this one, but I like it. This is one of those scores you wouldn't expect to be written by Elfman. It's isn't whimsical, heroic, gothic, quirky, and everything most people would associate with an Elfman score. Though it's still very much Elfman. If you liked Elfman's "Dead Presidents", "Instinct", "Planet Of The Apes (2001)", "Hulk", "The Kingdom", and "The Next Three Days" (another Russell Crowe movie) I think you might like this. I'm glad I finally own this album.
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