Batman '89 The Danny Elfman Appreciation Thread

[Elevator Man]

Happy 64th Birthday to Danny Elfman!

 

[Tundrawalker]

Warren Beatty’s Dick Tracy was a movie I watched countless times as a kid.

Nice post. I guess it is time to watch this again. Loved it when it first came out. My friend bought most of the merchandise, a wall full. Big Beatty fan. I had a mixed cassette tape with many of the tracks on it with some John Barry and Williams track as well. I wore that tape thin in the early 90's.

 

[Elevator Man]

Danny Elfman Talks Upcoming “Dark Universe” Work!

Danny Elfman, one of the most iconic of composers, has created the opening theme for Universal’s “Dark Universe” which debuts with The Mummy. Elfman is no stranger when it comes to creating iconic compositions, just look at Batman, Spider-Man, Hulk, and even 2010’s The Wolfman. Looking to inspire and entertain a new generation of fans with their classic monsters, Donna Langley, Chairman of Universal Pictures said the following:

As we launch Dark Universe with Danny’s provocative theme before The Mummy and collaborate with a brilliant filmmaker like Bill [Condon] to weave the story of a very modern woman [Bride of Frankenstein] in a very classic tale, we feel confident we’re off to a tremendous start.

From his first score on Tim Burton’s Pee-wee’s Big Adventure and his iconic theme for The Simpsons—not to mention his collaborations with filmmakers including Ang Lee, David O. Russell, Sam Raimi, Rob Marshall, Guillermo del Toro, Joss Whedon and Peter Jackson—four-time Academy Award® nominee Danny Elfman’s inimitable compositions have vaulted him into one of the most versatile and accomplished composers in history.

“I grew up on monsters. Monsters were my life, and these iconic Universal monsters were almost like my family. I simply wouldn’t be the same without them. When I got the opportunity to compose a theme for the Dark Universe logo, of course I jumped at it. What could be more fun than connecting to this world that has always been so deeply imbedded in my psyche? I tried to find something that was new but still had some connections with the past—the origins—at least in a subtle way. Something that was looking forward to a creative, fertile, imaginative future that Dark Universe will enter, and at the same time saluting the heritage of the tragic heroes (or anti-heroes) of my childhood. To the Monsters!!!!” – Danny Elfman

To the monsters, indeed! It’s very exciting to have another talented individual as a part of the “Dark Universe” and Danny Elfman will almost certainly ensure that our first proper introduction into the world of gods and monsters is as unforgettable as a Universal Monster film should be!

 

[Elevator Man]

Why Danny Elfman Wants to Make Just $1 for a Score

Danny Elfman is known for working on larger-than-life characters like Batman and Spider-Man, but now he's going much, much smaller.

With the help of indi.com, Elfman has launched a short film competition in conjunction with the 2017 LA Film Festival. All six movements from Elfman's 2008 "Rabbit and Rogue" ballet are available for filmmakers to use in their short films — with no licensing fees or red tape.

Elfman is giving away his “Rabbit and Rogue” intellectual property, so it's a little ironic that he must license his own music from the studios whenever he performs live.

"The majority of the big studio stuff, my collaborations with Tim [Burton], it’s all owned by them. I would say that I own the rights to maybe five percent of what I've written," says Elfman, who has been spending more time working on low budget films, for which he collects just a $1 fee.

"Every year, I try to do at least one $1 film. On those films, I do own the publishing. Obviously, if they’re only paying me a dollar I gotta get something," he says with a laugh.

For this contest, Elfman has enlisted a number of filmmaking friends to judge, including Paul Haggis, McG, Sam Taylor-Johnson, Gus Van Sant and Suzanne Todd. The contest’s winners will be announced on Thursday, with the winning filmmakers getting to meet with the judges and see their short films screened at the LA Film Festival.

Director McG, who worked with Elfman on 2009's Terminator: Salvation, says he's a lifelong fan.

"Believe me, I'd love to work with Danny on everything I do. We gingers have to stick together, we're in short supply," McG says. "It’s just really difficult to catch him in-between projects, he stays so busy."

The demand for Elfman was not always so high. Before he was established, Elfman and several of his musician friends would spend long days performing on the street for tips. When asked to compare a good day on the street with a not-so-great day, Elfman is blunt.

"When you’re a street musician, it’s real simple. A good day on the street means you come home with a full hat and you eat," says Elfman. "A bad day is when you come home and you’re splitting up loose change between eight people, and you’re not gonna eat."

Despite a lifetime of performing, Elfman never acclimated to the spotlight. Last year at a sold out concert in London, he sang Jack Skeleton's songs from A Nightmare Before Christmas. As he recalls, it was quite the challenge.

"I was dealing with a huge bout of stage fright… I hadn't sung live for almost 18 years. I just found myself froze backstage. I couldn't move my feet and I was due on stage," says Elfman. "Helena Bonham Carter helped give me a little shove, by reminding me to say, “F—k it.” And it was a good thing, because it was amazing night. It was actually one of the most amazing nights I've ever had."

The Rabbit and Rogue contest was produced by Richard Kraft and Laura Engel. You can view the submitted films and learn more information about Elfman's competition by visiting its website.

 

[Elevator Man]

Danny Elfman to Score ‘Justice League’

Danny Elfman has taken over scoring duties on the upcoming superhero movie Justice League. Junkie XL aka Tom Holkenborg who co-scored Batman v Superman: Dawn of Justice for the DC movie universe was originally scoring the film before director Zack Snyder left the project. Joss Whedon is overseeing additional photography is beginning this week in London. Elfman has previously collaborated with Whedon on Avengers: Age of Ultron. Justice League starring Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Ray Fisher and Jason Momoa will be released in theaters nationwide on November 17 by Warner Bros. Pictures. (The Hollywood Reporter)

Holy crap! Is this real. I guess Whedon is more involved than was let on. As cool as it is that Elfman will be scoring JL. Not looking forward to the movie after the previous misfires from the DCEU (excluding Wonder Woman, which I still haven't seen yet). I was planning on renting JL whenever it came out on dvd and Bluray instead going to theaters. But I don't know now. It's amazing Elfman scored two Batman movies, the theme for 90s The Flash tv show, two Spider-Man movies, Hulk, Hellboy sequel, Avengers sequel and now Justice League. If he stays on board for JL he'd have written music/themes for two versions of Batman and The Flash. Wow! This news feels so surreal.

 

[Elevator Man]

Batman Returns was released in theaters 25 years ago today. And of course I listened to my La La Land Records Batman Returns (2-CD) Expanded Archival Collection this morning.

Danny Elfman Batman Returns Interview

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Danny Elfman-Batman Returns interview (1992)

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25 years later Elfman will return to DC/WB to score Justice League. I still can't believe it.

 

[Elevator Man]

The Girl On The Train is based on the 2015 popular best selling novel by Paula Hawkins of the same name. It centers around Rachel (played by Emily Blunt), who’s an unemployed alcoholic still coping with her divorce from two years ago. She spends her alimony money taking the commute and spending most her time at bars. While on the train Rachel fantasizes about the perfect marriage and lifestyle because she believes hers ended due to her drinking problem. While taking the train from home and back, Rachel becomes fixated on a couple named Scott (played by Luke Evans) and Megan Hipwell (played by Haley Bennett) who seem to be happy and very much in love at least on the surface. Rachel imagines the kind of happy life the couple share. Coincidentally the Hipwells live across the street from Rachel and her ex husband Tom’s (played by Justin Theroux) house. Tom still lives there but with his 2nd wife Anna (played by Rebecca Ferguson) and first child. Tom and Anna are basically living the kind of life Rachel still yearns for as well. Rachel witnesses something suspicious happen with one of the Hipwells, which tarnishes her fantasy of the couple. Abduction and murder unfolds. Forcing Rachel to investigate and believing she’s a possible suspect..

The Girl On The Train is a psychological mystery thriller but beneath the surface it’s a drama that examines three broken women (Rachel, Megan, and Anna). Rachel, after her divorce feels empty and a lack of purpose. So she fantasizes and projects her appetite for a perfect life and marriage on a another couple. While also wasting her life away through the bottle. Megan puts on a facade by pretending to be happy about her marriage and life with Scott, but actually feels empty inside as well. She’s actually haunted by a dark secret past she‘s kept from everyone. This secret has made Megan very promiscuous, which even has her seeking therapy. Anna has (and somewhat stole from Rachel) the perfect life with Tom. She seems happily married, but deep down feels empty inside and even trapped. As a result Anna has become an unemployed housewife and a stay at home mom 24/7. The movie explores the impact of lusting for the perfect lifestyle/marriage of three women. As they come to realize it’s not all it’s cracked up to be. We also get to see how different these couples are from Rachel’s perspective of them.

Critics panned the film. I don’t know if it had anything to do with how it was adapted from the book or not. I think critics (not to mention people that haven’t read either book) were expecting another Gone Girl, which I remember the trailers/TV spots of The Girl On The Train being promoted as. I’ve heard people criticize/praise Elfman’s score for being similar to Trent Reznor and Atticus Ross’ Gone Girl, which I’ll give my opinion on that matter shortly. Besides both films being a mystery with unreliable narrators neither are anything alike. So that’s probably one of the reasons why the film suffered critically because the marketing team's poor decision to promote it as the next Gone Girl. However, I was glad the movie wasn’t a knock offGone Girl but it’s own thing.

Despite the negative reviews I didn’t think The Girl On The Train was a bad movie at all. In fact I enjoyed the film and performances a lot more than others did. I’ve never read the book it was based on. So I can’t compare how it holds up to the novel. However, I understand the complaints about the movie manipulating and misdirecting the audience, but since the narrative is being told through mostly Rachel’s perspective (an unreliable narrator) it made sense. Rachel tends to blackout when she’s drunk and has a difficult time piecing together her memories after sobering up, which also makes her easily manipulated. I do believe the coincidences in the plot and between characters feel a bit contrived e.g. the Hipwells living across the street from Rachel’s old house, which Tom and Anna happen to be the residents of, as well Tom and Anna’s nanny is none other than Megan, etc. On the positive side Blunt, Ferguson, and Bennett each gave compelling performances. I felt empathy for each of them. Blunt in particular plays a very convincing raging alcoholic. So if anything check out the film for the performances of the three leading ladies.

Though Elfman was a fitting choice for this kind of movie I was somewhat surprised when he signed on as the composer. Director Tate Taylor has collaborated with Thomas Newman on his previous two projects (The Help and Get On Up). So based on that I figured Newman would be the likely choice for composer. Regardless I’m sure Newman would’ve came up with an intriguing and compelling score but I’m glad Taylor gave Elfman the opportunity to score a picture like this. The movie is basically Rear Window on the train from the perspective of an alcoholic. So I was expecting a traditional symphonic score with some added synthesizers and nods to Bernard Herrmann, but Elfman’s score is mostly electronic with a small orchestra centered around the string section (violins, violas, cello, bass, and harp), and piano. It’s a very ambient, experimental and textural score. Taylor pushing Elfman into that direction shouldn’t have came as a surprise to me because I remember Newman’s score for Get On Up being very ambient, low key and mostly electronic. This approach allowed Elfman to branch out of his comfort zone. Aside from Wisdom, Planet Of The Apes (2001), and The Kingdom it’s rare for Elfman scores to be electronic driven, but it allowed him to come up with a dissonant and introspective score that examines the broken alcoholic narrator that is Rachel.

There have been complaints that Elfman’s score consists of mostly droning and sound design. As well as expressing how much the score reminded them of Gone Girl and Trent Reznor’s other scores. I don’t own any of Reznor’s scores, but based off what I noticed of his score for Gone Girl (in the film). And besides the fact that both scores utilize electronics to portray the bleakness and cruelty of the characters, story, and atmosphere. I don’t hear much similarities with either score. Plus I feel there’s a lot more nuance and depth with Elfman’s score. People mistake Elfman’s score of being mostly droning sound design and sonic wallpaper. However, Elfman came up with plenty of motifs for Rachel that he could interweave and deconstruct throughout the score, which I‘ll get into shortly. In comparison to Reznor and Ross I believe Elfman took a more skillful approach with the synthesizers and such for The Girl On The Train, imo.

For some reason the score didn’t resonate with me in the movie as much as it did for me on the album. I was able to latch onto the motifs presented throughout the score. It was interesting exploring different variations of the motifs presented. And because of how textural and layered the score is I believe it’s one of those scores where the listener will benefit from multiple listens. Based off my experience depending on how attentive listeners are they’ll discover variations and distortions of recurring motifs that they didn’t prior. Maybe even discover a hidden motif(s) that they didn’t on a previous listen.

The main motif of the score revolves around Rachel. It’s mostly piano driven and is sometimes overlaid with synthesizers. It’s introduced in “Riding The Train”, which opens the album. The track comprises of piano, synthesizers, and electric guitar, which gives it a very melancholic and empty feel. The cue establishes how pathetic and deluded Rachel’s become. Instead of getting a job she spends her alimony money taking the commute and getting intoxicated because it’s the only way she can cope with her divorce, which is ironically what she believes ruined her marriage in first place. As well as projecting her own fantasy on a married couple she’s constantly spying on on a daily basis, while taking the train. Rachel’s motif can be heard throughout the score particularly near the end of “Something’s Not Right”, “All *****ed Up”, “The Perfect Couple/Password”, “You’re Always Wasted”, “Memory” at the end of “Resolution”, and “The Girl On The Train - Main Titles”, which is actually the film’s end titles. “The Girl On The Train - Main Titles” is the only cue (one of the few calm cues on the album for that matter) that took a more pleasant and optimistic approach with Rachel‘s motif. [blackout] By the end of the film Rachel has found peace and isn’t lusting for the perfect life or marriage, spying on married couples, being envious of her ex-husband’s second wife, or coping with her divorce any longer. She’s more confident and isn’t the same damaged woman she was at the beginning of the movie. Rachel doesn’t feel that she lacks purpose anymore. The vocals humming Rachel’s motif gives her a bittersweet ending, which hints that a new redemptive stage/journey is out there for her to explore.[/blackout] My only complaint about “The Girl On The Train - Main Titles” is that it’s a very short cue which could‘ve benefited being 3-5 minutes long, imo. Since it’s the only peaceful and pleasant version of Rachel’s motif.

Elfman came up with another motif for Rachel that depicts whenever she’s intoxicated or piecing together her memories from her blackouts, which is a side effect of her drinking. Rachel’s secondary/intoxicated motif characterizes her being a raging alcoholic. The motif, which consists of two parts that play counterpoint to one another, is very haunting, deranged, and hypnotic. The first part is a 4 note rhythmic beat, which is somewhat reminiscent of the 4 notes that open Elfman’s “Silver Linings Titles” from Silver Linings Playbook. In some cues the four notes is either played on strings or synthesizers. The 2nd part is comprised of six notes. The first 5 notes is played on what sounds like a piano, while the sixth note (or last note) is played on strings. Sometimes the sixth note alternates between synthesizer, strings, and electric guitar. Certain points in the score Elfman uses only the four note portion of the motif for example in “Wasted“. As well as only the 6 note portion during “Missing Time”, which becomes more fragmented. There’s fragmented variations of the intoxicated Rachel motif in “Deviled Eggs”. Sometimes the six note portion gets shortened to 3 notes, e.g . “Uncertainty”, “I’m Sorry”, and in the middle of “Really Creepy”. Elfman really dissects the intoxicated motif in many interesting directions throughout the score, which seem to take place during crucial points in the movie.

A third drone-y motif is introduced in “Stolen”, which is comprised of 3 notes on synthesizer. I’m not sure what it represents either Rachel being suspicious of a character, Rachel possibly being a suspect, etc. It’s a very disturbing, mysterious, and suspicious motif. It recurs in a couple of tracks e.g. “Wasted”, “Deviled Eggs”, “I’m Sorry”, and “Really Creepy”.

A more foreboding motif is introduced in “Rachel”. Again I can’t put my finger on what or who it represents, but it’s mostly a dour piano driven cue. The motif only recurs in two cues “Rachel” and during most of “Really Creepy”. It’s very much in the vein with some of Elfman’s more solemn material for The Next Three Days.

Megan is briefly given a motif, which can be heard in two cues (“Megan” and “Touch Myself&#8221. “Megan” is a very serene cue (one of the few on the album ) with a hint of melancholy. Even though it’s a mellow cue, there’s something sorrowful about it, imo. “Megan” also establishes Megan’s façade of pretending to be a happy normal housewife fitting in but in all actuality is really broken inside due to a dark secret that’s constantly haunting and consuming her mentally. There’s a fragmented morbidly sultry variation of her motif that can be heard in “Touch Myself”, which explores Megan’s promiscuity.

Elfman cleverly interweaves and interlocks motifs by having certain ones lurking in the background while others are presented in the forefront e.g “I‘m Sorry“ (contains the 3 note suspicious drone-y motif, the intoxicated Rachel motif (with the shortened to 3 notes 2nd part) , and Rachel’s main motif) “Memory” (contains Rachel’s main motif, intoxicated Rachel motif (in full), brief subtle appearance of the 3 note suspicious drone-y motif) “Really Creepy (contains the foreboding motif from “Rachel”, the 3 note suspicious drone-y motif, the second part of intoxicated Rachel Motif (shortened to 3 notes)). It’s a clever way for the music to investigate Rachel’s (just as she does from her blackouts) blurred memories by cohesively connecting the recurring motifs.

Highlights of the score for me were “Riding The Train”, “Something’s Not Right”, “Megan”, “Rachel”, “3 Women”, “All *****ed Up!” (cue is actually far from it), “Wasted”, “Uncertainty”, “The Perfect Couple/Password”, “I’m Sorry”, “Memory”, “Really Creepy”, “Just Desserts”, “Self Defense” (vocals adds an ethereal feel), “Resolution” [blackout] (the piano brings a more hopeful feel, which depicts Rachel as being somewhat empowered and less broken by the end of the movie)[/blackout], “The Girl On The Train - Main Titles”.

In conclusion, The Girl On The Train is a complex, atmospheric, and ambient score that examines the mind of an emotionally and mentally damaged alcoholic. Due to how dense and textural the score is listeners should listen to it more than once. If so you’ll be rewarded by discovering motifs and ideas that you may not have noticed before. It’ll possibly change your opinion about the score and add an extra layer to it. Don’t expect a traditional orchestral Elfman score. If you dislike electronic heavy scores then this might not be for you. The synthesizers are at times very harsh and nasty but it also depicts how cruel, depressing, and broken some of the characters devolve into in the movie. There aren’t much pleasant moments to balance out all the darkness featured in the score. What little there is it’s very brief. Also it might negatively affect those who haven’t seen the movie and need context while listening to the score. The 52 minute runtime also felt smooth. The album didn’t drag or feel rushed, imo. This is a solid Elfman score overall. It had me invested from start to finish. Elfman took a rather skillful and intelligent approach with the synthesizers and string instruments. I don’t think the score would be as effective, nuanced or clever if Trent Reznor and the like had scored it. The Girl On The Train is up there with some of Elfman’s most intriguing scores, imo. Recommended to fans of Elfman’s more subdued and experimental scores, because even some of his hard core fans might have a hard time warming up to this score.

 

[Elevator Man]

Rabbit & Rogue Panel LAFF 2017 Ft. Danny Elfman

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[Elevator Man]

Danny Elfman to Return for ‘Fifty Shades Freed’

Danny Elfman will be returning as the composer for the upcoming sequel Fifty Shades Freed. The film is directed by James Foley (Glengarry Glenn Ross, Confidence) who also helmed this year’s Fifty Shades Darker and stars Dakota Johnson, Jamie Dornan, Arielle Kebbel, Kim Basinger, Brant Daugherty and Luke Grimes. The movie continues the story from 2015’s Fifty Shades of Grey and this year’s Fifty Shades Darker, which Elfman also scored. Niall Leonard has written the screenplay for the final installment in the trilogy based on E.L. James’ bestselling novel. Michael De Luca & Dana Brunetti (The Social Network, Captain Phillips, 21) are producing the project with James. Fifty Shades Darker is set to be released on February 9, 2018 by Universal Pictures.

Elfman’s upcoming projects also include Justice League. He also scored the period drama Tulip Fever, which is scheduled to be released in U.S. theaters this August.

 

[Elevator Man]

The original Men In Black was released in theaters 20 years ago today. The quirky score, which also has a hip and stylish main theme, lead to Elfman's first oscar nomination.

M.I.B. Main Theme

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The Suit

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K Reminisces

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Finale

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M.I.B. Closing Theme

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[Elevator Man]

Men In Black II was released in theaters 15 years ago today. Definitely the wildest of three MIB scores.

Worm Lounge #1 (Worms In Black)

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Titles

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Heart Thump

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The Light

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Worm Lounge #2

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[Elevator Man]

Rabbit & Rogue, a ballet choreographed by Twyla Tharp for the American Ballet Theatre, premiered in June 2008. The symphonic score featured in the ballet was composed by Danny Elfman. Rabbit & Roguemarked Elfman’s first (and so far only) ballet score. The score was performed live by the American Ballet Theatre Orchestra, but was never recorded. Until Elfman funded to record the score with his own money. In 2014 the score was finally recorded in Berlin (at Taldex Studio Berlin, Germany)and performed by the Berlin Session Orchestra. By June 2016 the score was released digitally. Later that month Elfman and the LA Film Festival announced a contest that allowed film students to use any of his Rabbit and Rogue music as score to their short films. The short films would then be judged and who ever had the best film won. The contest ended in March of 2017 and the winner was picked June 2017. During the ad for the contest it was revealed that a physical copy of the Rabbit & Rogue score would be released shortly after. It mentioned the album being a Deluxe Limited Collector’s Edition, which contained two discs released by Sony Classical. Disc one is a CD, which contains the ballet score (in stereo) with the same track list and cues as the digital release. Disc two is a DVD, which contained the score album in DTS 5.1 Digital Surround and a new 14 minute interview with Elfman about his experience on Rabbit & Rogue. The two disc album was released mid-late June 2017.

The score is 45 minutes long. It’s most likely the complete score b/c I believe the ballet is about 45 minutes long as well. Elfman wrote six cues for the ballet with the majority of the cues being between 9 - 12 minutes long.. Each are distinctive enough from one another but at the same time share the tone of the score/ballet.

Intro opens the score. It’s the shortest track barely over a minute long. Though Intro is very brief it manages to set the tone for the kind of score the listeners are in for. It features a snippet of a melody that’ll recur throughout the score. Intro is basically the appetizer for the listeners of what’s to come.

Frolic is a rowdy nine and a half minute movement with a very upbeat melody. The instrumentation is similar to some of his for Serenada Schizophrana. Aside from the melody that establishes Frolic. There’s two other melodies that appear. One of them reminded of Elfman’s Wanted main theme and the other melody reminded me of the Article 99 main theme. The melody that’s similar to Elfman’s Wanted main theme is very playful and energetic. It could possibly be representing the Rabbit character. The melody, which also could be briefly heard in Intro, that’s similar to the Article 99 main theme is very dramatic, uplifting, and pleasant. This particular melody could be portraying either the Rogue character or his and Rabbit’s relationship throughout the ballet. I’ll just call it the emotional theme.

Gamelan is a nearly 10 minute movement that features Elfman‘s own gamelan orchestra, which was performed by Elfman himself separately from the orchestra recording. And was sampled into the recording instead due to how difficult it would be to record the gamelan and orchestra live at the same time. The emotional melody recurs. However, another melody is introduced, which gives a very John Williams whimsical sentimental feel. Don’t know what it represents in the ballet. Both the Frolic and Rabbit melody appear as well. Gamelan is easily the most pleasant track. I can see this cue being the highlight for most listeners.

Rag is not only the longest of the six movements but it’s also the most haphazard. It utilizes the piano, synthesizers, and some percussion. There’s some ragtime, some rumba, and even a rhythmic carousel beat conveyed through the use of synthesizers. Elfman mentioned that the Rag movement was basically a “ballroom out of control”. Rag sounded like it was written for a 40s Tex Avery cartoon, imo. This is the most quirky and oddball of the six movements. Also the most fun of the six movements, imo.

Lyric is a short cue (barely over two minutes long) that is mostly carried by the melody (performed on saxophone) that represents the Rabbit character (the melody that’s similar to Elfman’s Wanted main theme). Lyric is another cue (due to it’s instrumentation) that wouldn’t feel out of place in the Serenada Schizophrana soundtrack.

Finale is a little over ten minutes long. The music during this movement feels like it’s racing aggressively to meet it’s climax. Various renditions of the Rabbit melody recurs throughout most of the first half. As the cue reaches it’s climax all the melodies (the Frolic melody, the emotional melody, Rabbit melody, Rag melody, the sentimental Williams-esque melody) appear for a final reprise as the cue climaxes. It’s interesting that Elfman had his very William-esque sentimental melody wrap up Finale and the entire score.

So overall I thought Elfman’s Rabbit & Rogue was excellent. It’s a very dynamic and theatrical score. I believe listeners will discover something they hadn’t before on repeated listens. Each track have something fresh and unique to offer to the album, which doesn’t drag or become stagnant and repetitive, imo. Rabbit & Rogue even rivals his Serenada Schizophrana and Iris: Cirque du Soleil scores, which I also consider brilliant pieces of music from Elfman. Even though each of those scores were written within the three years gaps from one another. Rabbit & Rogue feels like the transition between Serenanda Schizophrana and Iris: Cirque du Soleil. It pretty much is. Some of the instrumentation of the movements, which I know wasn’t intentional, of Rabbit & Rogue are similar to Serenanda Schizophrana’s (particularly Frolic and Lyric). Rabbit & Rogue also felt like a stepping stone for Iris: Cirque du Soleil (particularly the cue Rag), which again I know wasn't intentional. I’m glad Elfman gets opportunities to score such projects. Hopefully there’s more similar projects on the way. I can feel through the music how much free reign he seemed to have on these projects compared to his film scores as of late.

One minor complaint I have about the two disc album was that disc 2 didn’t contain the actual ballet performance. So nobody filmed the ballet back in 2008, which is unfortunate. I was under the assumption that the ballet was included on the 2nd disc and was bewildered that they only included the soundtrack in 5.1 Digital Surround sound with the Elfman interview, which I enjoyed and found very informative. The 5.1 surround sound sounded fine even though I couldn’t tell much difference between the stereo mix and 5.1 mix due to lack of a real sound system. Anyways I would’ve liked to have seen the ballet just for context. And to see/hear how well the music and performers played off one another. I would’ve maybe gotten a better understanding of the narrative. As well as who and what some of the melodies/music depicted in the ballet. There’s only a four and a half minute video of some footage from the ballet somewhere on youtube. It’s a minor quibble, but I believe the Rabbit & Rogue score works well as a stand alone piece outside the ballet. The recording and pressed CD was worth the wait, imo.

Highly recommended to fans of Elfman’s Serenada Schizophrana and Iris: Cirque du Soleil.

 

[Elevator Man]

Danny Elfman Scoring Gus Van Sant’s ‘Don’t Worry, He Won’t Get Far on Foot’

Danny Elfman is reteaming with director Gus Van Sant on the upcoming biographical drama Don’t Worry, He Won’t Get Far on Foot. The film is written and directed by Van Sant and stars Joaquin Phoenix, Rooney Mara, Jonah Hill and Jack Black. The movie tells the story of quadriplegic cartoonist John Callahan who became paralyzed following a car accident at the age of 21 and turned to art as a form of therapy, drawing by clutching a pen between his two hands. Charles-Marie Anthonioz (Spring Breakers), Mourad Belkeddar and Nicolas Lhermitte are producing the project for Iconoclast, alongside Steve Golin (Spotlight, The Revenant, Eternal Sunshine of the Spotless Mind) for Anonymous Content. Elfman and Van Sant have previously worked together on such movies as Good Will Hunting, To Die For, Psycho, Milk, Promised Land, Restless, as well as ABC’s recent mini-series When We Rise. Don’t Worry, He Won’t Get Far on Foot is currently in post-production. No word yet on a premiere date.

 

[ddddeeee]

I saw an interview with Van Sant when he mentioned he was currently working with Elfman over a month ago.

He's been on Justice League for five and a half weeks now so I wonder if his work for Don't Worry... is finished.

 

[Elevator Man]

My Rant On The Movie

Spoiler

Fifty Shades Darker somehow manages to be an even more inferior film than it’s predecessor. The last film ended with Anastasia (played again by Dakota Johnson) calling off her “relationship” with Christian (played again by Jamie Doman) after he performed one of his torture sexperiments (by her request so she could understand him better) backfired because he seemed to enjoy inflicting pain on her. What did she expect exactly? I don’t recall how long Fifty Shades Darker takes place after the first installment, but probably a couple of weeks or months later. Ana’s got a new job as a secretary/assistant of a publishing company, where she reviews manuscripts for her boss Commissioning Editor Jack Hyde (played by Eric Johnson). Christian crosses paths with Ana again at her old friend’s photography exhibition, which featured a couple of private (but harmless) photographs of her displayed without her consent. Of course Christian was the mysterious buyer, who bought all her photographs because he doesn’t like people “gawking” at her. They then talk over dinner about new terms and starting over. Christian agrees to Ana’s terms of “ No rules. No punishment. No more secrets.” The movie is basically centered around Christian attempting to turn over a whole new leaf for Ana.

It’s really difficult for me to be invested in this relationship. I don’t find it particularly engaging. Johnson and Doman don’t seem to be invested in it either (can't blame them). I got the impression that both actors are only in this movie because they signed on for two sequels. And it shows in their performances.

Christian is a controlling sociopath so why does Ana keep giving him so many chances. I can overlook this in it’s predecessor because this was Ana’s first relationship. She was not only naïve about companionship and love but a virgin before she met and hooked up with Christian. So by the end of the first film she had a better understanding of Christian and called a quits on their relationship. Throughout this movie it’s revealed that Christian is pretty much a dominant in life, which makes sense because he never had a normal relationship with any of his submissives, and seems to subconsciously need a submissive in life.

I find it funny after all the things that’s revealed about Christian throughout the movie that Ana didn’t break up with him again and have a restraining order put on him because he’s a pretty much characterized as a controlling stalker sociopath. He knew about her new job and had flowers with a note congratulating Ana sent to her apartment. How did he know about her new job after being apart from her for a couple weeks/months? He knew about her old friend’s photography exhibition. And that Ana’s photos would be displayed. As well as Ana showing up there. How? Is he psychic? Plus the man bought all of the photos of her displayed. If that doesn’t scream obsessive stalker ex lover then I don‘t know what does. He even has her bank account information, which surprised Ana at first, and transferred $24, 000 into it after she refused his check. How does he have her bank account info? I’m pretty sure she never told him in the last film. And transferring $24,000 doesn’t seem suspicious at all? At least Ana donated it for charity at his foster family’s masquerade charity ball later in the film. Christian also showed interest in buying the publishing company that Ana works for. Why? Later in the film Ana texts Christian about going on a business trip in New York, which could boost her career, but Christian demanded her not to go because he wanted her to experience New York with him instead rather than with someone else. What? So screw Ana’s career opportunities and options? After continuing their conversation about New York over dinner Christian then had the audacity to call their little discussion their first argument/fight. Christian revealed to Ana that his mother was a crack addict, who died of an overdose when he was a child. He confessed to Ana that he’s not a dominant but a sadist who likes inflicting pain on his submissives who resemble his mother. And that didn’t scare Ana away. Ana could lack common sense but I chalk it up to her being just as crazy and deranged as Christian. Maybe that explains why they’re attracted to one another. As well as why they want to spend the rest of their life together.

I just find it comical that Ana never questions Christian if he was keeping tabs on her because he seems to know everything about her without her knowledge. I would’ve given the film some credit if they had acknowledged that Christian has been keeping surveillance on Ana since they broke up. Like showing a scene of Ana discovering Christian has been keeping tabs on her. While in Christian’s apartment Ana stumbles into a room of full surveillance footage of her (and her friends) whereabouts instead of the Red Room. Then she confronts Christian about it, but knowing these films it’ll probably turn her on instead of being irked or disturbed by it.

The movie also has too many shallow and underwritten characters. Christian’s foster family, who were introduced in the last film, were hardly featured in this film and didn’t add anything to the already empty plot. It’s a shame that they wasted Marcia Gay Harden (once again) , who returns as Christian’s adoptive mother. She had even less to do in this movie than it’s predecessor. I forgot that Christian had a foster sister until she appeared later in the film. That’s how poorly developed most of the returning characters were. You can add Ana’s best friend/former roommate/ Christian’s foster brother’s girlfriend to that list as well. I remember her character having a significant amount of screen time in the last film. It’s very telling how one dimensional these characters are because I can’t seem to recall their names.

The new characters introduced add little to the movie. Ana’s boss Jack Hyde doesn’t do much in the film but flirt with Ana and compliments her talents for reviewing interesting manuscripts to publish. Jack also seems to have a heart-on for Ana. Later in the film he attempts to sexually assault Ana for turning down a book expo in New York and because he seems to be jealous of Christian and her being a couple. Before Christian pulled some strings to get Jack fired due to his attempted sexual assault on Ana. Jack for some reason seems to dislike Christian but it’s never revealed why. Guess it’ll be revealed in the third film. Smh!

One of the characters I was actually curious about in the sequel was Elena (played by Kim Basinger). In the first film Christian told Ana about Elena abusing him and getting him into S&M. Elena is not only Christian’s abuser but also his friend/business partner and owns a salon. Even though it isn’t explored enough it seems that Christian is subconsciously submissive to Elena. Aside from the casting of Basinger as the woman responsible for Christian being the way that he is. It was actually one of the very few things I was interested in them exploring in the sequel, but unfortunately the movie wastes Kim Basinger, who only had three small scenes. Even though her last scene did leave an impression with Ana throwing martini in her face after she confronts her about Christian seeing right through her and would eventually move on from like with most of his submissives. And Christian uttering the unintentionally funny line “ You taught me how to f*** Elena. Ana taught me how to love.” It’s a pity they wasted Basinger in this movie.. Hopefully she’ll get offered better projects like an MCU movie or another Tim Burton movie someday like Michael Keaton and Michelle Pfeiffer.

Another new character featured in Fifty Shades Darker named Leila (played by Bella Heathcote) who was a submissive of Christian’s in the past. She just like Ana resembles Christian’s biological mother. She’s very unhinged and it seems that Christian has brainwashed her into believing that she’s forever his submissive even though he broke up with her years ago. Leila is seen mostly stalking Ana. Later in the movie she is even suspected of vandalizing Ana’s car, which Christian gave Ana as a gift in the last film if I‘m not mistaken. She is next seen holding Ana at gunpoint in her apartment. Leila seems to envy Ana because Christian gives her better and special treatment compared to his previous submissives. She also mentions that sooner or later Christian will want to control Ana like he does with all his submissives. Christian resolves the conflict by becoming her dominant and having Leila hand her the gun and kneel before him. Leila is then taken and committed to a psychiatric ward. The Leila subplot was somewhat interesting but was anticlimactic on how it was resolved. There wasn’t much consequences from the incident. I felt that what she revealed to Ana about Christian is what I already suspect how their (Ana and Christian) relationship would realistically end, but I doubt the third film will go in that direction anyway.

In the middle of the movie Christian, while half asleep, asks Ana to marry him. By the end of the film both characters are engaged, which felt rushed and unearned, imo. I honestly don’t care if they get married or not. Throughout most of the movie Christian is trying to prove to Ana that he’s changed and makes attempts to redeem their relationship by treating Ana as an equal and not one of his submissives. They both even agreed to take things slow but out of nowhere Christian proposes to her. Before the proposal he wanted her to move in with him into his penthouse. The same penthouse that has the Red Room. If Christian really wanted to prove to Ana he’s changed then he would’ve gotten rid of the Red Room. And remodeled it into something else for her but he doesn’t.

There’s also a pointless scene where Christian’s chopper malfunctions and crashes in the middle of a forest, where the crash landing itself happens off camera. The scene is suppose to make me feel concern for Christian but honestly I wasn‘t. Why should I care at that point in the film (near the film’s climax) that Christian’s life is in danger? I knew he would survive the crash. Not to mention the whole scene lacked any real suspense. I just don’t care enough for Christian as a character to start being concerned about his survival during a helicopter crash. Why is this scene even in the movie? 3 to 5 minutes later after it’s all over the news about Christian turning up missing after the helicopter crash. He shows up at his penthouse very nonchalant (and hardly a scratch on him) about the accident while Ana and his adoptive family are relieved he’s alive. The makers of the film didn’t bother giving an explanation as to how Christian survived the crash. Then made it back home in the city from the forest he crashed into, while apparently being invisible from the media and search parties. His mother asked him how he made it back and he didn’t have an answer. If I’m not mistaken he told her he’ll talk about it later or he didn’t want to talk about it or something. That whole segment in the movie was pointless and didn’t add anything to the plot. They could’ve at least shown Christian trying to survive in the forest for a couple of minutes of screen time. Showing Ana was Christian’s motivation to make it back to her at whatever cost. Instead they gave us Ana’s perspective on the situation because helicopter crash is what convinced her that she didn‘t want to live without Christian. Very dull and sappy.

Fifty Shades Darker, which wasn’t that much darker than the last film, felt like a two hour soap opera. In fact, Fifty Shades Duller would be a more appropriate title. The whole movie felt like a waste of time. I wasn’t expecting a well made good quality movie, but I don’t think it works as a guilty pleasure either. I can’t come up with any compliments regarding the movie. The love scenes are bland, safe, and tame. These films are marketed around the sex scenes and the toys used during them so you would expect the love scenes to be more racy, erotic, explicit, and intimate, but there the exact opposite. The movie has difficulty in making me feel invested in Ana and Christian’s relationship. Both films haven’t given me a valid reason to care if their relationship succeeds or not. It lacks compelling characters, an engaging romance, and a coherent story. For example, Fifty Shades Darker opens with Christian having a nightmare about his biological father (I assume) abusing him and his biological mother. It doesn’t explore that anymore for the rest of the film. So why reveal that in the first place if they aren’t going to delve in any further into his past. Christian does reveal to Ana his cigarette burns (which she discovers in this film but somehow didn’t notice ‘em in the last film even though she‘s seen him with his shirt off multiple times before) inflicted on him by his father. They want us to empathize with Christian (just as Ana does) but they don’t explore enough of his inner demons for the viewer to care, imo. This movie should’ve focused on fixing the problems many had with the first installment (as well as the source material these films are based on), but it only adds more unfortunately. At least with Fifty Shades Of Grey there seemed to be some effort to tell a compelling story even if they failed in the final product. Shooting both this movie and Fifty Shades Freed back to back was another issue. It’s very rare for movies that shoot back to back to be good movies. The source material it’s based on might also factor into why these films are weak. I think at the end of the day this kind of film (just like the book) isn’t aimed at me but a specific demographic. I doubt Fifty Shades Freed will be much of an improvement if at all. Especially with the same makers of this film being involved.

My Review Of The Score (Next Post)

 

[Elevator Man]

Danny Elfman’s score, which was the main reason I went out of my way to watch Fifty Shades Darker (and it’s predecessor for that matter) , was serviceable in the film. The music wasn’t bad or anything, but it didn’t play an integral role in the film either. I don’t recall a moment where the score really shined. The love scenes weren't scored with any of his music, but were carried by contemporary pop songs. Just as the first installment Elfman’s subdued score mostly underscores this film, which is fine because these films don’t call for a big operatic orchestral score that’s very conspicuous. It’s a shame though that he had little to work with as the film lacks any real substance, developed characters, and an engrossing romance. If the film had actual quality, a compelling story and characters I’m sure he would’ve came up with something even better than what the film ended up with.

I actually found the score a lot more effective on album than in the film. As well as a bit more of an engaging listening experience than his Fifty Shades Of Grey score album. At 42 minutes long the album doesn’t drag or feel very short. I wouldn’t be surprised if most of the score from the film is on the album. Even though it’s called Fifty Shades Darker it seemed a bit more mellow compared to the previous score. For the most part Elfman doesn’t take a tonal shift in tone and approach from the previous score. It’s pretty consistent in continuity of the previous themes/motifs. Just like the first score it’s a very low key subdued but intimate score.

The main motif from Fifty Shades Of Grey, which established Ana’s and Christian’s relationship in the first film, returns. It can be heard throughout most of the album. It’s still very rhythmic. The motif is sometimes played on piano and guitar. It doesn’t become repetitive or trite.

Ana’s theme, which depicted Ana’s character in the first score and is basically a variation of the main motif, also returns. It can be heard during “Christian”, “No Strings Attached”, near the end of “Danger Girl” and in “Survive”. Compared to this score it seems that Ana’s theme might’ve been used more frequently in it’s previous score.

Though both Ana and Christian’s main emotional theme/motif and Ana’s theme returns. Christian’s inner turmoil theme (which resembles Dario Marianelli’s “Evey Reborn” theme from V For Vendetta) doesn’t return. Elfman introduces a new theme/motif that replaces Christian‘s inner turmoil theme. In fact, it’s more of a secondary theme/motif, which characterizes Ana and Christian taking the next step in their relationship (moving in together, marriage, etc.). In other words it represents phase 2 in their relationship. The theme is often played on piano and sometimes guitar. Ana and Christian’s secondary theme/motif is very optimistic, sentimental, and redemptive. It depicts Christian’s attempts of redeeming himself for Ana’s love and trust. He no longer struggles with his inner turmoil because he’s willing to put aside his dominant ways and change for Ana. The secondary theme/motif can be heard in “On His Knees”, briefly near the end of “Bathroom Encounter”, “The L Word”, “A Key”, “Yes!”, “Announcement”, and “Making It Real”. Not only is Ana and Christian’s secondary theme/motif is a lot more engaging than the actual romance on screen but it is easily the highlight of this score for me as well.

Even though the character had about five minutes of screen time Elfman still gave Elena a motif. Elena’s six note motif can be heard during “Bathroom Encounter” (where Elena meets Ana in the bathroom and have a heated discussion about Christian) and “Martini Face” (where Ana throws martini into Elena’s face after another heated conversation about Christian). It’s played very dark and tense on piano during “Bathroom Encounter”. It’s played on electric guitar during “Martini Face”. The motif portrays Elena as the antagonist and as somewhat of a threat to Christian and Ana’s relationship. Even though the motif is only represented in two tracks it still managed to be rather effective in both.

Leila is also given a brief motif. It’s sort of a rhythmic synthesized beat than a motif or theme. It depicts how damaged and disturbed Leila is. As well as how threatening she comes across to Ana. Leila’s motif can be heard in “Vandalize” (where after the Masquerade ball it‘s revealed that Ana‘s car was vandalize). Even though in the film there wasn’t any proof that Leila was responsible for vandalizing Ana‘s car the use of Leila’s motif hints that she’s the culprit. Leila’s motif can also be heard in “Danger Girl” (where Leila broke into Ana’s apartment and holds her at gunpoint).

The contemporary synthetic beat in “Panties” (I don’t think I need to explain what’s happening during this particular moment the title speaks for itself) along with the vocals gives the cue a very erotic and seductive feel. The use of vocals during the beginning of “Red Room” (where Ana goes into the Red Room for the first time since the end of the last film and explores some of Christian‘s sex toys while unaware that he’s watching her from across the room) was also very effective. The female vocals is literally singing “No!” ”No!” ”No!” very innocently to Ana as she goes into the Red Room. It’s like Ana’s conscience is warning her to leave and to not let her curiosity get the better of her before Christian catches her inside the Red Room, which suspiciously happened to be unlocked. Elfman also utilizes vocals in “Texting” and near the beginning of “Danger Girl”.

Even though I prefer my CDs in jewel cases. The packaging design from the digipak of Fifty Shades Darker is actually top notch. It doesn’t look cheap but professional. I complained before about the album cover art being unappealing but the overall design of the digipak is excellent. The digipak didn’t look like it was made out of any cheap material. It also looks thicker than your average digipak. The CD booklet/liner notes is also thick though it consists of mostly images from the movie, with the track list, orchestra credits, etc. It didn’t contain a note from the composer or director, unfortunately. I was very surprised and impressed by the album art and design. Aside from my Mr. Peabody & Sherman and Interstellar soundtracks (also in digipak) this is probably the best looking digipak (out of the few I own) in my collection. Way more appealing and professionally designed than than the digipaks for The End Of The Tour and Spotlight soundtracks , imo.

Overall Fifty Shades Darker is a pretty good mellow score that‘s also very consistent with the first score. I also found it to be a bit more engaging than the previous score as well. I don’t think it transcended the first score the way Elfman’s Batman Returns, Men In Black II, Spider-Man 2, and Alice Through The Looking Glass did compared to their first installments. However if you enjoyed Elfman’s previous score you’ll most likely enjoy Fifty Shades Darker as well. These type of scores are more for fans of Elfman’s more subdued, contemporary, intimate, and rhythmic scores. Even though I’m not looking forward to the next installment Fifty Shades Freed I’m looking forward to Elfman’s score and what he’ll come up with for it.

 

[ddddeeee]

As ever, a terrific review Elevator_Man.

One thing I wanted to discuss was what you called 'Christian's turmoil theme' from the first score - the one that sounds like V for Vendetta. I've always interpreted this as an inverted version of Ana's theme used whenever she is struggling to 'get through' to him. What you referred to as 'Elena's Theme' is actually this theme - and as these are both Ana-heavy scenes I think it supports the notion of it being her theme. Elena is trying to break the two up so it makes sense to use it in this context.

Christian has his three note motif which is more extensively used in Darker. It gets a dramatic take at the end of Dossiers if you want to hear it - it was generally played with forceful strings in the first to reflect his dominance but in this score it's played more sensitively to reflect his character change. It also generally plays after the new 'Love theme' to suggest that their relationship finally completes him.

I've been singing the praises of these two scores a lot, actually. I think Elfman's work here is so intelligent - the way everything culminated in 'Counting to Six' from the first score is just stunning to me. There are always a million different things going on - like how the main theme doesn't complete itself in 'Nightmare' as the two have broken up, how the love theme is introduced so unconvincingly in 'Bathroom Encounter' to represent how Ana is rethinking their relationship or how both Christian and Ana's themes play at the same time in 'Christian' to highlight how they are separate from one another despite standing opposite.

I hope Elfman gets more to do in Freed than he did in Darker (I thought his score had a big impact on the narrative in the first). For me it will easily surpass the MIB trilogy of scores.

In many ways these scores exemplify why I love Elfman so much. They're really not deserving of anything more than a throwaway effort but Elfman treats them with so much thought and intelligence - terrific stuff.

 

[Elevator Man]

Just got done listening to Miss Peregrine’s Home For Peculiar Children. Can’t say I was impressed. The score was serviceable in the film, which I felt was mostly average Burton. There were only a few standout tracks (“Squirrel Rescue”, “Enoch’s Dolls”, “Projecting Dreams”, “The Augusta”, and “Go To Her”). Basically the more whimsical moments between Jake and the peculiar children earlier in the album. By the middle of the score (particularly most of the action heavy moments and the cues dealing with Samuel L. Jackson’s character wreaking havoc and hamming it up) it became more noisy and bombastic.

The themes and motifs didn’t resonate enough for me. Or even had me to yearning for more. Most of the ideas don’t come together as a cohesive whole musically for me. It was really lacking that Elfman touch. Whenever Elfman begins the scoring process he always focuses on the turning point of the movie/story and then goes from there. He always explores the core/heart of the movie. He’s figured out the movie once he captures the heart of it. I thinks that’s what lacking in this score.

Some of the cues (“Miss Peregrine’s Home For Peculiar Children“, “Blackpool” and ‘Go To Her” ) ended abruptly. It had me concerned for a few seconds that my CD player had shut off. Maybe both composers intended that effect to reflect whenever a character goes into a time loop. If you’ve seen the movie then you know what I mean. The loop plays a vital role into the plot.

“Handy Candy” (a techno dubstep source cue that took place in the middle of the climax at some fair between the peculiar children and the monsters) should’ve been placed at the end of the album as a bonus track. The placement of the cue just felt abrupt and out of place. The only reason it might’ve been placed where it was because the album has the cues in chronological film order. Maybe? Still an odd placement on the album.

I felt the album was too long and could’ve trimmed 20 minutes particularly some of the more bombastic and loud moments. Some of those cues seem better in context than outside of the film. Mike Higham & Matthew Margeson made a decent enough effort but they both lacked the skill that Elfman brings to these projects. I could feel Elfman’s absence throughout the score. It even had me curious as to what he could’ve and would’ve came up with. If only both the scoring sessions for this movie and Alice Through The Looking Glass hadn‘t collided with one another due to Miss Peregrine’s release date being moved up three months earlier. I believe Elfman would’ve delivered a very interesting score . The movie and story offered so much he could’ve worked with. Missed opportunity.

Maybe I’m being too harsh and am still irked about Elfman’s lack of involvement in the score. After all this is my first listen of the score album. Maybe it’ll grow on me after repeat listens but I wasn’t impressed with the score overall. It’s really saying something about how integral a role Elfman plays in Burton’s movies because two composers couldn’t measure up to him, imo.

 

[Elevator Man]

As ever, a terrific review Elevator_Man.

One thing I wanted to discuss was what you called 'Christian's turmoil theme' from the first score - the one that sounds like V for Vendetta. I've always interpreted this as an inverted version of Ana's theme used whenever she is struggling to 'get through' to him. What you referred to as 'Elena's Theme' is actually this theme - and as these are both Ana-heavy scenes I think it supports the notion of it being her theme. Elena is trying to break the two up so it makes sense to use it in this context.

Christian has his three note motif which is more extensively used in Darker. It gets a dramatic take at the end of Dossiers if you want to hear it - it was generally played with forceful strings in the first to reflect his dominance but in this score it's played more sensitively to reflect his character change. It also generally plays after the new 'Love theme' to suggest that their relationship finally completes him.

I've been singing the praises of these two scores a lot, actually. I think Elfman's work here is so intelligent - the way everything culminated in 'Counting to Six' from the first score is just stunning to me. There are always a million different things going on - like how the main theme doesn't complete itself in 'Nightmare' as the two have broken up, how the love theme is introduced so unconvincingly in 'Bathroom Encounter' to represent how Ana is rethinking their relationship or how both Christian and Ana's themes play at the same time in 'Christian' to highlight how they are separate from one another despite standing opposite.

I hope Elfman gets more to do in Freed than he did in Darker (I thought his score had a big impact on the narrative in the first). For me it will easily surpass the MIB trilogy of scores.

In many ways these scores exemplify why I love Elfman so much. They're really not deserving of anything more than a throwaway effort but Elfman treats them with so much thought and intelligence - terrific stuff.

I didn't realize the inner turmoil theme being what I thought was Elena's theme. However, I did notice what I thought was Elena's theme was a somewhat a darker version of Ana's theme. So you're most likely correct.

Thanks for adding some insight on the score. You seem to have an even better understanding of these scores than I do. I'll have to look out for some of the themes/motif you mentioned that I didn't catch before on my next listen of Fifty Shades Darker.

And I agree with you about how much thought and intelligence Elfman puts into these Fifty Shades scores (which is more than these movies deserve) b/c I seem to discover something I didn't before after each listen (as with most of Elfman's more complex scores). Elfman seems to have a better understanding of the romance than the filmmakers and writers do, imo.

 

[Elevator Man]

BvS Warehouse Fight Scene (Re-Edit, Batman 1989 Rescore)

Spoiler

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[Elevator Man]

Danny Elfman Wishes You a Happy Batman Day!

Spoiler

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[Elevator Man]

Posted last Friday on Waxwork Records Facebook Page.

Coming next Tuesday, 9/26! DARKMAN Original Motion Picture Soundtrack by Danny Elfman on 180 gram "Fire" colored vinyl. Heavyweight packaging, art print, all new artwotk by Francesco Francavilla, and more!

Posted Earlier This Afternoon On Waxwork Records Facebook Page.

Coming TOMORROW, 9/26. DARKMAN Original Motion Picture Soundtrack by Danny Elfman. Pressed to 180 gram "Fire" colored vinyl, features deluxe packaging, includes 12"x12" art print, re-mastered audio, and all new artwork by Francesco Francavilla!

 

[Elevator Man]

Sam Raimi's DARKMAN Original Motion Picture Soundtrack by Danny Elfman is On Sale Now @ Waxwork Records!

DARKMAN

$27.00

Waxwork Records is proud to present the deluxe vinyl re-issue of DARKMAN Original Motion Picture Score. Directed by Sam Raimi (Evil Dead, Evil Dead 2, Army Of Darkness) and starring Liam Neeson, DARKMAN is a 1990 dark superhero film that pays homage to classic Universal horror films from the 1930’s and 40’s. The film follows a scientist that is attacked, burned alive, and left for dead by ruthless mobsters, who then returns to seek revenge on the men that made him what he is.

Unable to acquire the rights to Batman or The Shadow, Director Sam Raimi decided to create his own, original character, drawing inspiration from The Phantom Of The Opera and other classic horror monsters. A hideous and disfigured non-superpowered man that fights crime, but he is also an unfortunate victim to a tragic love story as a creature that desires, but ultimately cannot have his love interest.

The score by composer Danny Elfman mixes classic orchestral compositions and unsettling carnival music.

Waxwork Records has re-mastered the full DARKMAN score for vinyl, and packaging details include 180 gram “Fire” vinyl (Fluorescent Orange and Red Swirl vinyl), housed in an old-style tip-on gatefold jacket with satin coating, all new artwork by award winning and acclaimed illustrator Francesco Francavilla, and a 12”x12” art print.


180 Gram “Fire" Vinyl (Fluorescent Orange with Red Swirl)
Remastered for Vinyl From Original Master Tapes
All New Art by Francesco Francavilla
12”x12” Art Print on Uncoated Stock


Track List

Side A
1. Main Title
2. Woe, The Darkman, Woe
3. Rebuilding / Failure
4. Love Theme
5. Julie Transforms
6. Rage / Peppy Science
7. Creating Pauley
8. Double Durante

Side B
9. The Plot Unfolds (Dancing Freak)
10. Carnival From Hell
11. Julie Discovers Darkman
12. High Steel
13. Finale / End Credits

The artwork is very appealing and perfectly depicts the manic comic book vision that Raimi was going for, but I don't collect vinyls. I have nothing against vinyl but I just haven't any interest in collecting them. Not to mention I don't own a record player either. Hopefully an expanded CD is in the works by one of the specialty labels. Probably unlikely since Nightbreed never got an expanded release when Waxwork released that score on vinyl. It's a shame because both scores have been long out of print. I unfortunately don't own either soundtracks. Just suites from both scores on Elfman'sMusic For A Darkened Theatre Volume 1 compilation CD. Oh well. Hopefully someday it'll happen.

 

[Elevator Man]

The Kingdom was released in theaters a decade ago today. Both the film and score are underrated, imo. I remember the score being slammed by film music critics and Elfman fans alike back upon release. Most of the score’s detractors heavily criticized it for being too MV/RC (Zimmer’s Music Production) for their liking with it’s approach and style. However, I was always a fan/defender of the score and still am.

Elfman took a very skillful approach with The Kingdom than most scores of it’s ilk. The heavy use of synthesizers and electronics never bothered me. It not only depicted a lot of the intensity of the situations the protagonists faced throughout most of the movie, but enhanced them. He perfectly conveyed the bleak and gritty tone of the story/plot, which deals with terrorism. Elfman really established the heart of the film/score by taking a more progressive rock approach during the more emotional moments (“Waiting”, “Friendship“, and “Finale“). The guitar riffs are very much inspired by the rock band Explosions In The Sky’s style, who director Peter Berg is a major enthusiast of. In fact, Explosions In The Sky scored Berg’s Friday Night Lights movie and The Lone Survivor (along with Steve Jablonsky). Another interesting tidbit was that the animated movie Rango literally borrowed Elfman’s “Finale” cue for a certain scene, which was interesting being that Hans Zimmer was the composer of that movie. That track is actually very effective and compelling during the gripping ending of The Kingdom.

Elfman’s score has continued to resonate with me especially during the emotional cues. Being nearly forty minutes long the album has a brisk but smooth pace. The score overall has an excellent balance between both the intense and amiable moments, imo. It’s one of those scores (for me at least) where I could enjoy it away from the film as well.

Re-listening to The Kingdom brought back some fond memories I had listening to it back in the day. The score continues to resonate with me to this day. I’m glad Elfman was given the opportunity to score this movie. Not only is The Kingdom one of Elfman’s most underappreciated scores, but it's also one of the most underrated scores of 2007 and in general, imo. So check it (both the film and score) out if you haven’t already. And if you disliked the soundtrack in the past then give it another listen because your opinion might change about it.


Main Titles

Spoiler

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Waiting

Spoiler

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Friendship

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The Chase

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Finale

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Check out these photos of Elfman and some of the cast at the premiere of The Kingdom back in 2007.

 

[Elevator Man]

Danny Elfman on Scoring 'Justice League,' Working With Joss Whedon & Gus Van Sant

On Friday (Sept. 27), Oscar-nominated composer Danny Elfman will receive the Max Steiner Film Music Achievement Award at the 10th annual Hollywood in Vienna festival.

The honor, which is named after the Viennese composer of such films as King Kong, Casablanca and Gone With the Wind, will be presented during an evening of Elfman’s music, performed by the ORF Radio Symphony Orchestra Vienna and conducted by Maestro John Mauceri. Past awardees include Alexandre Desplat, James Newton Howard, Randy Newman, Lalo Schifrin and John Barry.

Hollywood in Vienna’s 10th anniversary comes at a time when the recording of film music is undergoing a resurgence in Vienna via Synchron Stage, an old scoring stage that was given a $12 million facelift and re-opened last year after years of dormancy. Home to one of the biggest scoring stages in Europe (it can hold a 130-piece orchestra), among the composers who have utilized its services recently are Hans Zimmer, Harry Gregson-Williams and Rupert Gregson-Williams.

The Vienna concert kicks off a big weekend for Elfman, whose first violin concerto, written for violinist Sandy Cameron, will be performed in Hamburg at the Elbphiharmonie on Sept. 30. Then Nov. 6-7, Tim Burton’s The Nightmare Before Christmas Live In Concert, with music by Elfman, will make its debut in New York at the Barclay’s Center. As he has in other cities, Elfman will recreate the role of Jack Skellington.

Billboard talked to Burton's longtime collaborator about receiving the Steiner award, his return to the DC Comics universe with Justice League, which opens Nov. 17, and other projects.

You’re receiving the Max Steiner Award Friday. What effect did his work have on your composing?

He’s the godfather of film composition. There had been groups and orchestras that played with silent movies, but it was all accompaniment. [He was] the first person to create a narrative synchronized score that ran with a movie, with [1933’s] King Kong. That was a groundbreaking moment because no one had thought of that— telling the story synchronized to the picture with music. That set the tradition of music story telling along with the film.

[With] King Kong, he establishes these motifs. He did things I find myself doing today with rhythmic figures, of how Kong moved and comes alive, and the pace and the pulse quickening as it does. That’s what scoring is all about.


You’ve just been in London recording the score for Justice League. It’s been 28 years since you scored Batman. What was it like going back into the DC universe?

It was great. It was like I never left because I’m using the same thematic material that I used back then. It never actually went away [Laughs.] It just was great fun.

There are a few little fan moments. I instated a moment of the Wonder Woman theme that Hans Zimmer did for Batman Vs. Superman, but I also had two minutes where I had the pleasure of saying, “Let’s do John Williams’ Superman.” and that for me was heaven, because now I have a melody to twist, and I’m using it in an actually very dark way, in a dark moment. It’s the kind of thing that some fans will notice. Some won’t. It’s a moment where we’re really not sure whose side he’s on.

The people at DC are starting to understand we’ve got these iconic bits from our past and that’s part of us, that’s part of our heritage -- we shouldn’t run away from that. Contemporary thinking is, every time they reboot something, you have to start completely from scratch -- which, of course, audiences will tell us again and again, is ********. Because the single-most surviving and loved theme in the world is Star Wars, which they had the good sense to not dump for the reboots. And every time it comes back, the audience goes crazy.

Did you write new themes for such characters as Flash and Aquaman?

I created very simple motifs. There are so many themes, you can’t just do a big theme for everything. So i created a motif for Flash, for Aquaman and Cyborg -- but they’re very simple things, and [DC] understood. I said, "These things may never be used again, but I’m giving you all the components, should you wish to have things to build on." So they either will or they won’t, but that’s how I approach a project like this. You have to take the attitude that this is the beginning of a mythology and it all matters, it all comes to fruition, and with any luck they will.

I loved the people I worked with, they were wonderful. The DC guys were great. I kept talking about the DNA of John Williams in this other theme -- using the DNA of Batman in these other variations, which were not the Batman theme -- but it all derives from that... Musical themes are like genes, you carry the DNA along and it creates these subtle connections which are perceived on an unconscious level. It’s funny because I’m terrible at puzzles, but I love musical puzzles. It’s a different part of my brain.

Did you record at Abbey Road?

Abbey Road and Air. On my god, we had nine days of 12-hour recording sessions using both studios. It was crazy. It’s funny, I’ve only worked with [director] Joss [Whedon] twice, but they’re both been insane situations. I was joking with him at the end, "It would be great to do something normal where we actually have a regular schedule instead of these hyper-reduced schedules." On the other hand, i like challenges and I love Joss, so it was all good.

Why do you love working with him?

It was the same as when I worked with him on Ultron. He appreciates melodies and pieces. He’s like, “Oh, you’ve given it identity here!” There was a moment where the Batmobile shoots out of a thing and he goes, “Go bat**** crazy here! Batman the **** out of it!” When I’m using the Batman theme, I’m using the melodic sense of it, I’m wasn’t doing full-on Batman, and there’s a moment when he says, “No, right here, Full on!”

Are his musical instincts right?

I think they’re great and he loves doing little things like that that are pure fan excitement: “Do John Williams here, Batman the **** out of this moment.” He knows how fans think. Give them these little things and let them enjoy it.

You also just finished Don’t Worry, He Won’t Get Far On Foot, with Gus Van Sant. You’ve worked with him consistently since Good Will Hunting. I can’t imagine two more disparate films than your latest with him and Justice League.

It does not contrast more than Don’t Worry, He Won’t Get Far on Foot, a true story about a quadriplegic cartoonist in Portland, and Justice League. Insane contrast, which I love.

It was just the pleasure of Gus being really experimental and wanting to do all kinds of crazy things. He was picking up stuff of mine -- there’s this little lullaby I wrote for my son when he was born called “Oliver’s Lullaby,” and he said, “we’re going to use that here and here.” He was just combining crazy stuff. He was having crazy fun mixing up bits and pieces. Especially when he’s on a little film like this, Gus likes to be real off-the-center adventurous, do things that are crazy or sentimental, or the opposite of what it seems it would be at the moment ,and you go with it and just have fun.

Just when I thought I couldn't get anymore excited for Elfman's Justice League score.