Batman '89 The Danny Elfman Appreciation Thread

[Elevator Man]

“Hollywood in Vienna” celebrates Danny Elfman

Spoiler

[YT]sSWNgFcRJbg[/YT]

 

[Elevator Man]

The Nightmare Before Christmas Live coming to Barclays w/ Danny Elfman & more

Tim Burton‘s classic holiday film The Nightmare Before Christmas is coming to Brooklyn as a live-to-film concert event that will happen at Barclays Center on December 6 & 7. Danny Elfman, who wrote the songs and score and was the singing voice of Jack Skellington, will sing live, as will original voice actors Catherine O’Hara (Sally) and Ken Page (Oogie Boogie). They’ll be backed by a full orchestra and choir during a screening of the movie.

This show happened in Los Angeles in years past, but this will be a first for New York City.

“Being able to perform “Nightmare” live in synch to the movie with a full orchestra was such a thrill at the sold out Hollywood Bowl shows. Having Catherine O’Hara and Ken Page to perform with me really made it a unique and magical experience. I’m happy to bring this special night to Brooklyn for the first time in December.”

A cast of singers and special guest artists will be performing the film’s songs live. Conductor John Mauceri, Founding Director of the Hollywood Bowl Orchestra, will be leading the full orchestra and choir performing the film’s classic score and songs live to picture.

Barclays Center will also become Halloween Town “with special pre-show activities including an audience participation costume contest and unique photo opportunities. Tim Burton-inspired costumes are encouraged!”

Tickets for the shows go on sale Friday, October 6 at 10 AM but you can get them early via the BrooklynVegan presale that begins Wednesday (10/4) at 10 AM. Check back Wednesday morning for the presale password.

 

[Elevator Man]

Brett Ratner’s underrated Red Dragon was released in theaters 15 years ago today. Elfman’s unsettling score, which is one of his darkest, was a major highlight of the movie, imo.

Danny Elfman scores RED DRAGON

Spoiler

[YT]Gcg2k2cVtvM[/YT]

^Bridget Fonda (Elfman‘s wife), Danny Elfman (obviously), and director Brett Ratner at the Red Dragon premiere back in 2002.

 

[Elevator Man]

Danny Elfman to Score Tim Burton’s ‘Dumbo’

Danny Elfman confirmed during a press interview promoting his Danny Elfman’s Music From the Films of Tim Burton concert in Mexico City later this month that he will be reuniting with director Tim Burton on the upcoming live-action adaptation of Disney’s Dumbo. The movie starring Colin Farrell, Eva Green, Michael Keaton, Danny DeVito and Alan Arkin is based on the studio’s 1941 animated classic of the same title about the young elephant with extraordinarily large ears who develops the skill to fly. Ehren Kruger (The Ring, Arlington Road, Scream 3) wrote the screenplay and is also producing the project with Katterli Frauenfelder, Derek Frey and Justin Springer (Prom). Elfman has previously scored all of Burton’s most movies except for 1994’s Ed Wood, 2007’s Sweeney Todd and last year’s Miss Peregrine’s Home for Peculiar Children. Dumbo is set to be released on March 29, 2019 by Walt Disney Pictures.

 

[Pfeiffer-Pfan]

Excellent news.

 

[ddddeeee]

A Burton/Keaton reunion without Elfman wouldn't have been ok.

 

[Elevator Man]

WaterTower Music to Release Danny Elfman’s ‘Justice League’ Soundtrack

WaterTower Music will release the official soundtrack album for the comic book movie Justice League. The album features the film’s original music composed by Danny Elfman (Spider-Man, Alice in Wonderland, Charlie and the Chocolate Factory, Men in Black) who reportedly is using his theme from Tim Burton’s Batman, as well as John Williams’ Superman theme in his score. The soundtrack is expected to be released digitally in November. The CD version is currently set for a release on December 8 and is now available for pre-order on Amazon. Check back on this page for the full album details. Justice League is directed by Zach Snyder and stars Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Ray Fisher as Cyborg, Jason Momoa as Aquaman. The movie will be released nationwide on November 17 by Warner Bros. Pictures. Visit the official movie website for updates.

Justice League - Comic-Con Sneak Peek [HD]
[YT]g_6yBZKj-eo[/YT]

Based off that article it doesn't mention anything about WaterTower Music is releasing two editions e.g. the standard single disc and a (2-CD) deluxe edition, which both MOS and BvS received. It'll most likely be the standard release single disc. Not a big deal for me.

 

[Elevator Man]

‘Justice League’ Soundtrack Details

The full details of the soundtrack album for the comic book movie Justice League have been announced. The album features the film’s original music composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland, Men in Black, Charlie and the Chocolate Factory). Also included are songs by Sigrid, he White Stripes and a cover of The Beatles’ Come Together by Gary Clark Jr. & Junkie XL. The soundtrack will be released digitally on November 10, 2017 and as a 2-CD set on December 8 by WaterTower Music. Visit Amazon to pre-order the CD version. A track from the score is already available to download here and can also be checked out after the jump. Justice League is directed by Zack Snyder and stars Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Ray Fisher as Cyborg and Jason Momoa as Aquaman. The movie will be released nationwide on November 17 by Warner Bros. Pictures. Visit the official movie website for more information.

Here’s the album track list:

1. Everybody Knows – Sigrid (4:25)
2. The Justice League Theme – Logos (0:48)
3. Hero’s Theme (4:17)
4. Batman on the Roof (2:34)
5. Enter Cyborg (2:00)
6. Wonder Woman Rescue (2:43)
7. Hippolyta’s Arrow (1:16)
8. The Story of Steppenwolf (2:59)
9. The Amazon Mother Box (4:33)
10. Cyborg Meets Diana (2:36)
11. Aquaman in Atlantis (2:39)
12. Then There Were Three (1:10)
13. The Tunnel Fight (6:24)
14. The World Needs Superman (1:00)
15. Spark of the Flash (2:18)
16. Friends and Foes (4:14)
17. Justice League United (1:24)
18. Home (3:24)
19. Bruce and Diana (1:06)
20. The Final Battle (6:14)
21. A New Hope (4:36)
22. Anti-Hero’s Theme (5:35)
23. Come Together – Gary Clark Jr. & Junkie XL (3:13)
24. Icky Thump – The White Stripes (4:14)
25. The Tunnel Fight (Full Length Bonus Track) (10:58)
26. The Final Battle (Full Length Bonus Track) (12:57)
27. Mother Russia (Bonus Track) (1:45)

Justice League - Hero's Theme - Danny Elfman (official video)

Spoiler

[YT]ojyuFzWA0v4[/YT]

Why open the score with a song track unrelated to Elfman? Why didn't WaterTower Music indicate where disc one ends and disc two begins? So to fill two discs they had to include three songs which includes Gary Clark Jr. & Junkie XL's cover of Come Together as well as two versions of two Elfman tracks (both edited and unedited versions). I'm still looking forward to this score. I want my first experience hearing the score when I watch the movie. So I don't plan on listening to samples or full tracks until I own the album.

 

[Cain]

Hearing his Batman theme while looking at an atmospherically gothic Gotham in one of the latest JL clips just felt so right. Welcome back Danny!

 

[Elevator Man]

Danny Elfman Discusses Creating The Score For ‘Justice League’

Danny Elfman is no stranger to composing music for superhero movies, as his credits include Batman, Batman Returns, Spider-Man, Spider-Man 2, Hellboy II: The Golden Army, and Avengers: Age of Ultron. now that he’s returning to compose Justice League, Elfman shares his thoughts on his profession and what he brought to DC’s superhero crossover.

When asked specifically about using themes from previous movies (namely, his own take on the Batman score and the iconic Superman theme composed by John Williams), Elfman compared these musical call-backs to what was done with the Star Wars spin-off Rogue One:

Danny Elfman: “With Justice League, they’re really launching this franchise as a unique franchise—it’s their own world. Often when a franchise is relaunched, they start all of the music from scratch. Most of the time, that’s a decision that may not harm the financial success of the franchise, but it definitely takes away from the longevity or durability of a franchise. The franchise that I always come back to again and again is Star Wars. It’s the oldest musical franchise we have and wisely, it’s the one time they’ve decided not to do that when they relaunched it. It was a really smart thing. Fans, when they hear little bits of the John Williams themes, even when they’re in an offshoot like Rogue One, it provides this great historical context that ties everything together in a really satisfying way.”

Elfman also talked a bit about one of the themes that has been released online — “Hero’s Theme” — and explained that it was the main theme of the team, but not the only one:

Danny Elfman: ”Hero’s Theme” is an overall heroic theme for the Justice League, and as I mentioned, there’s also a secondary theme, which represents the team. That’s how the logos start right at the beginning of the film.”

 

[Elevator Man]

The Circle is based on the 2013 novel by Dave Eggers, who also helped write the film’s screenplay alongside director James Ponsoldt (The End Of The Tour). The movie centers around Mae Holland (played by Emma Watson) who’s been hired by the Circle (an innovative and popular internet/tech company that’s similar to Apple) as a customer experience rep. The corporation’s biggest goal is to convert the world through transparency to reveal everything to them so secrets aren't withheld from everyone, while keeping their owns shady secrets away from everyone else. The Circle basically wants to play “big brother” with the entire planet. By doing so the Circle and it's sheep believes everyone will be free and united.

For the first couple of days Mae struggles with fitting in and opening up to her peers (via social networking) about her personal experiences inside/outside of the Circle. After the Circle saves Mae via cameras from a near death experience on a kayak, Mae becomes somewhat an advocate and spokesperson for the Circle. She assists Eamon Bailey (played by Tom Hanks), who’s sort of a Steve Jobs’ entrepreneur type, with finding innovative ways to transcend the Circle’s global impact. Mae volunteers to become transparent, which means wearing a camera and being watched by everyone through social media. This experience both has a positive and negative impact on her life as well as those close to her.

I thought The Circle was an interesting movie that didn’t scratch the surface with it’s premise. Aside from Emma Watson the cast, which included John Boyega, Patton Oswalt, the late Bill Paxton and late Glenne Headley (both playing Mae’s parents, which in hindsight was an unfortunate casting coincidence ) were underused. Watson’s portrayal of Mae was confusing for me at times. I wasn’t sure if her character was supposed to be brain washed by the Circle’s views, or if she loved the popularity/attention she received from the Circle after her kayak accident, or if she really wanted to improve the Circle by revealing it’s dirty secrets to the public, etc. Due to Mae being the protagonist I thought she’d have more common sense. However anytime one of the Circle’s experiments (she’s involved in) back fires she continues to push the Circle’s boundaries from being imperfect. Instead of just exposing the Circle for it’s questionable ethics and attempts at invading everyone’s privacy. I wasn’t entirely convinced she believed what she was preaching about the Circle and their attempts to rid the world of secrets. There’s some interesting questions being asked about social media/networking, drones, etc. As well as technology being omnipresent to where it threatens everyone’s freedom. However, the movie fell short of it’s premise. I felt it didn’t resonate with me the way it should’ve or could‘ve.

Danny Elfman’s electronic driven score was a major highlight in the movie. I believe it was more of a creative choice than lack of budget to go in that direction musically. The movie is centered around a growing corporation where technology’s prevalent so the score perfectly reflects that. Elfman took a different approach with the synthesizers for this score compared to his previous synth driven scores. Elfman’s score, which is more upbeat and quirky, isn’t as gritty or aggressive as his synth heavy scores for Planet Of The Apes (2001),The Kingdom, and The Girl On The Train. The synthesizers used in The Circle sounds very retro 80s but still manages to feel modern at the same time.

The Circle has a mono-motif driven score. The motif, which is mostly played on piano and consists of six notes, is omnipresent as the Circle’s technological impact on the characters lives and the world for that matter. I believe this motif depicts both Mae and the Circle. Most of the score utilizes this motif to explore Mae’s experience (both positive and negative) at the Circle as she becomes integrated into the corporation. As well as examines Mae’s suspicions about the Circle’s motives and secrets e.g. “Inner Sanctum“ and “Conspiracy”. Even though the score is mono-motific, Mae/Circle’s motif doesn’t become repetitive or lacking in nuance. Due to it blending seamlessly with the textures throughout the score it‘s might be inconspicuous on first. However, after multiple listens the motif becomes more discernible.

Jónsi’s cover of “Simple Gifts” didn’t overshadow or feel out of place with Elfman’s synthetic score. The cover song also blends well with the story and tone of the movie. There were three bonus tracks (“More Happy Little Robots”, “Return To Wonderland”, and “Happy Love Theme”) that concluded the album. Either these bonus tracks were used (or unused) in the movie or was made specifically for the album because “More Happy Little Robots”, and “Return To Wonderland” sound like alternate versions of “Happy Little Robots” and “Wonderland”. Due to the placement of the three bonus tracks on the album and the combined track times of each being five in a half minutes long it didn’t take away from the album’s run time. In fact, an extra ten minutes of music wouldn‘t had hurt the album.

Highlights of the score are “Into A Circle”, “Wonderland”, “Happy Little Robots”, “Inner Sanctum”, “Aftermath”, “Upgrade”, “Conspiracy”, “Chasing Amy”, “Stolen Kayak”, “Finding Mercer”, “Intake”, “Mae Takes Over”, “Simple Gifts”, “More Happy Little Robots” and “Return To Wonderland”.

Even though the soundtrack is well paced and a little over 40 minutes long, which might not be long enough for some listeners. Most cues are short and may end abruptly, which might bother some listeners because the score and Mae’s/Circle’s motif probably won’t resonate with them on first listen. The score being centered around one motif might also be an issue for those who prefer their scores integrating and alternating between various motifs/themes.

Recommended to those who are fans of electronic scores and Elfman’s more textural scores for Indie films, which The Circle manages to distinguish itself from.

 

[Elevator Man]

Danny Elfman Swings By To Discuss "Tim Burton's The Nightmare Before Christmas" In Concert Live to Film

Spoiler

[YT]mWLiTLU_LMQ[/YT]

 

[Elevator Man]

Danny Elfman Hates When Reboots Scrap Classic Themes

Composer Danny Elfman didn't have a lot of time to decide to step back into the world of DC with Justice League.

The film was in flux after director Zack Snyder stepped away in May following the death of his daughter, and filmmaker Joss Whedon was brought in to write additional scenes and oversee reshoots and post-production. Whedon made another change, ushering out Batman v. Superman: Dawn of Justice composer Antonius Tom Holkenborg, aka Junkie XL.

"I got the call from Joss very last second," Elfman tells Heat Vision. "I got the call and it was, ‘You have to decide now and then go to work tomorrow.’"

There's been plenty of speculation about how much of the final product is Snyder's and how much is Whedon's. Elfman says that much of the film was being shot as he wrote the score, and that he never scored any of the retooled Snyder footage that didn't make it into the film. Things were so last-minute that at times he wouldn't be composing to actual footage.

"I had a lot of storyboards in place of action. There would be full scenes and then a five-minute sequence of storyboards. Honestly, it was like working on an animated film," says Elman. "I didn’t score any of the unused footage, the movie that came out is the movie I scored, it was just in very rough form."

Elfman and Whedon previously worked together on 2015's Avengers: Age of Ultron, another situation he describes as another "three alarm call." He shares scoring credits with Brian Tyler.

"I’ve only worked with him twice and it’s been under those circumstances," says Elfman. "With Avengers, it was trickier because I was working around half a score. So, I had to rescore either half or two-thirds of the film, and that made for a squirrelly process. On Justice League, it was a blank slate. I only had to work around a Leonard Cohen song."

Whedon turned Elfman loose on the Justice League score, he only asked that he add humanity, warmth, and some fan payoffs, including restoring his original theme from 1989's Batman into the Dark Knight's mythos, as well as bringing in John Williams' classic Superman theme.

"I twisted it and my Batman theme… the DNA is there, but the themes aren’t necessarily obvious in the film. Except for one specific moment in the final battle. Joss said, ‘Let’s do it [Batman’s theme] on the nose. Fans love this kind of stuff.’ "

Elfman also has strong words for reboots and reinterpretations of character themes. Batman, for instance, has had numerous themes over the years courtesy of Hans Zimmer's work on The Dark Knight trilogy, as well as Zimmer's Junkie XL collaboration for BvS.

"The whole concept that every time a superhero franchise is rebooted with a new director, then you have to start the music from scratch is a ******** idea. It’s only for the ego of the director or the composer," says Elfman. "They need to learn the incredible lesson that Star Wars and James Bond have known for ages, which is that keeping these musical connections alive is incredibly satisfying for the people who see those films."

He notes that when he worked on the 1996 Mission: Impossible film, he dropped in Lalo Schifrin’s iconic theme.

"It would’ve been crazy to exclude it. It doesn’t matter if it’s a decade old, or seventy years old," he says. "Give me a reboot of any old film and I can take the themes and use them in a way that feels fresh."

Elfman, who scored the first two Tobey Maguire Spider-Man films, expresses frustration with that franchise’s score continuity.

"There’s like four different Spider-Man themes at this point, and as a result, he doesn’t have a recognizable sound. I told the guys at DC, you have a great musical heritage that you should be proud of and you should keep it alive. And they agreed with me, which is refreshing," says Elfman.

Elfman revives Zimmer’s Wonder Woman theme from BvS, but he shifted away from the bold, electric sound.

"I use the Wonder Woman’s theme twice. The first time you see her, it’s a really heroic moment, but having heavy electric guitars or that effects-heavy sound would’ve made it feel campy or funny," he says. "It's a great melody and I was able to find a way to make it feel grand, which is what that moment needed.Now, when she’s running the second time and bouncing bullets off her bracelets, I thought, ‘This can be the fun moment, and I added in guitars, although it got drowned in the mix.’"

When asked when he would know if he’d be coming back, Elfman stated that he has no expectations, although he said this film’s writing process was relatively painless, which is unique in film scoring.

"I met with all the producers and the Warner Brothers/DC executives, knowing they were just going to rip apart my cues or request different takes, but they were incredibly supportive and didn’t want drastic alterations," says Elfman. "That never happens!"

 

[shauner111]

He's a moron. He talks a lot about ego and nothing he says makes sense. Him thinking that he's the only guy who can write music for batman or spiderman..that's ego right there. His work in Justice League may have been rushed by the studio but it still lacked imagination.

Using guitars for the Wondy theme would have made it campy or funny? You're an idiot. His version was weak.

 

[The Joker]

Funny, I don't recall him using the themes from the Gene Wilder Willy Wonka movie in Burton's version. Elfman is rapidly becoming more idiotic lately.

 

[Elevator Man]

Saw Justice League yesterday evening. And wow! Where to start?

Spoiler

After the disappointing MOS and BvS I had my expectations set extremely low for JL. The movie was an incoherent mess that felt unfinished that I could tell was heavily edited. An ensemble movie of this scale shouldn’t be under two hours.

The contrived humor fell flat. None of the jokes landed with me. The tonal shifts in styles between Zack Snyder and Joss Whedon were apparent and jarring.

Steppenwolf was a weak one dimensional villain with a generic world ending plot. He wasn’t at all intimidating (even during his fight scenes). Why use a henchmen of Darkseid’s as the main/first threat to face off against the Justice League? The CGI/motion capture on Steppenwolf was very unappealing. It didn't work with Zod or Ares either. Even though there was an invasion I didn’t feel the stakes were raised or that any of the characters were in any real danger. The movie felt like it was stalling by the third act to put Superman in the movie because once he’d showed up and lend a hand the invasion would end sooner. And that’s exactly what happened. It didn’t take much to defeat Steppenwolf. Destroy the three mother boxes as well as his pick axe then he’ll show fear, which the Parademons will feed off from and then kill him.

I wasn’t invested in any of the characters, their interactions, the fight/action scenes, or the thin plot. The plot started getting somewhat interesting (for me) by the 3rd act when the JL brings Superman back. Certain characters made unnecessary appearances for the sake of fan service and to set up future movies. Amy Adams/Lois Lane could’ve played a more crucial role in the movie e.g. investigating the sightings of mysterious superheroes, but was wasted instead. I didn’t find any of the performances that engaging. Henry Cavill’s CGI mouth was distracting and took away from his performance, imo. As much as I liked seeing a more optimistic, upbeat, and altruistic Superman I didn’t feel it was earned in the movie. Plus the world didn’t really witness Superman’s return or the Justice League saving the world for that matter, which was another missed opportunity. Ben Affleck seemed awkward and too laid back as Batman/Bruce Wayne. I got a lot of George Clooney Batman vibes especially when he was in the Nite Owl-esque Batman costume. The protagonists as a whole didn’t feel very fleshed out enough in the movie for me to be invested their relationships and conflicts. They lacked strong story arcs (if any). I could go on and on but the movie wasn’t anything special, imo. I walked out of the theater not wanting to see anymore adventures with this Justice League. This movie didn’t do any justice with the Justice League (no pun intended). Stick with either the Justice League The Animated Series “Pilot” or Justice League: War, which the movie seems to be loosely based on, instead. Hopefully this is the end of the Snyderverse because it’s time for a major overhaul.

The main reason I had interest in seeing this movie in theaters was for Elfman’s score. I thought Elfman’s score was effective in the movie. Unfortunately it wasn’t anything special, but again the movie wasn’t either. So I really can’t blame Elfman. I automatically dug Elfman’s scoring approach during the opening logos. It was a breath of fresh air hearing this kind of grand orchestral score in a DCEU movie. I had a grin on my face hearing Williams’ Superman theme briefly in a pivotal moment. Also hearing Elfman needle drop his Batman theme was also nice. I couldn’t comprehend some of the themes/motifs Elfman composed but I dug his motif for the Flash (particularly during the slow mo moments). It’s a shame he couldn’t come up with a more engaging theme for the Justice League, but I didn’t find any of the superheroes that engaging (as themselves or as a team) in the movie. Even though I liked what I heard in the movie. It was still a waste of Elfman’s talents that could’ve been better utilized in another DC movie e.g. Justice League: Dark, Batgirl, etc.

 

[Elevator Man]

Danny Elfman to Score Illumination’s ‘How the Grinch Stole Christmas’

Danny Elfman is set to score the upcoming animated feature How the Grinch Stole Christmas. The film is directed by Pete Candeland & Yarrow Cheney (The Secret Life of Pets) and stars Benedict Cumberbatch as the voice of the title character. The movie is based on Dr. Seuss’ classic tale about the titular grouch who plots to ruin Christmas for the residents of his neighboring village of Whoville. Michael LeSieur (You, Me and Dupree) wrote the screenplay. Chris Meledandri & Janet Healy (Despicable Me, Minions, The Lorax) and Scott Mosier (Free Birds, Dogma, Clerks) are producing the Illumination Entertainment production. How the Grinch Stole Christmas will be released on November 9, 2018 by Universal Pictures.

 

[Elevator Man]

Danny Elfman Tells All: 'Beetlejuice, Batman, The Simpsons' & More | PeopleTV | Entertainment Weekly

Spoiler

[YT]QZInP5TXe_Q[/YT]

 

[Elevator Man]

JUSTICE LEAGUE: Danny Elfman Talks Batman & Superman Themes

Spoiler

[YT]ZdtsAMDxVNI[/YT]

Why DC/WB decided to post this video a week after the film's release instead of during the week of release?

 

[Elevator Man]

Justice League Clip Batman - Elfman vs Zimmer

Spoiler

[YT]Lr-1vDnm1aY[/YT]

The BvS so-called Batman theme is way too menacing and threatening for an opening to a scene that’s basically a meeting between Batman (some of the League) and Gordon. It actually had me fearing for Gordon's life b/c Zimmer/Holkenborg's pounding theme gave me the impression that Batman’s only there to kill/attack Gordon rather than just meeting up with him for any intel. Elfman’s piece, however, depicts Gordon’s anticipation of Batman’s arrival. The notes build into a full statement of the Batman ‘89’ theme as Batman makes his entrance. It didn't take me out of the moment i.e. made me think of Batman '89' or it's sequel. I also didn't feel that Batfleck was unworthy of the theme either. It just proved to me that Elfman's Batman theme could blend in with Batfleck's portrayal (at least in JL anyway).

Once this movie hits Digital/Dvd/ Blu Ray there's probably going to be more videos of this ilk (replacing Elfman's JL music with Zimmer & Junkie XL's MOS and BvS music) appearing on YouTube. Sigh! The DCEU/Snyder/ Zimmer & Holkenborg fans need to get over Elfman replacing Junkie XL and ignoring the majority of the establishing themes/motifs from DCEU. Plus Hans Zimmer supposedly retired from scoring superhero movies. Can't say that I blame him after BvS.

 

[Elevator Man]

Why Danny Elfman Gave Up The Stage To Become One Of Hollywood's Most Successful Composers

The transition from established rock artist to film composer is not unusual. System Of A Down frontman Serj Tankian has done it in recent years and Nine Inch Nails architect Trent Reznor has moved from one of the most dynamic performers rock has ever seen to Academy Award-winning composer. Those are just two examples.

But few people have ever done it as successfully or dramatically as Danny Elfman. Once frontman for alternative L.A. band Oingo Boingo, a group that is still L.A. legend for their Halloween shows and whose “Just Another Day” was featured in the second season of Netflix’s Stranger Things, Elfman retired from performing completely when he became Hollywood royalty primarily as the musical cohort to director Tim Burton, though his TV and film work goes well beyond that. Elfman is the man who wrote the theme song to The Simpsons, enough said.

Having settled into his career as a full-time composer, Elfman says now he had no plans to go back to performing. However, in 2013 his two worlds merged when he returned to the stage to play the role of The Nightmare Before Christmas’ Jack Skellington in a live celebration of his musical work for Burton’s films.

That one-off show led to what he estimates is 30 to 35 more performances, including a few live versions of The Nightmare Before Christmas, which sold out a combined five nights at the Hollywood Bowl in 2015 and 2016. Next week, December 6 and 7, the live show featuring the music of the beloved film will hit New York’s Barclays Center for two very special shows featuring not only Elfman, but original film stars Ken Page and Catherine O’Hara.

I spoke with Elfman about his unique career trajectory, where he plans on going next and why he has had no problem giving up being onstage.

Steve Baltin: Have you done The Nightmare Before Christmas anywhere outside of the Hollywood Bowl before?

Danny Elfman: Technically the first time we tried it was in Tokyo, but we didn’t do it with original cast, it was all with hired singers. So the Bowl was the first time we did it in the way we’re doing it now, with Ken Page and Catherine O’Hara and we have some of the original background singers. In its current form it’s as we did it at the Bowl.

Baltin: Do you see this being something you could take on the road in some form?

Elfman: I don’t see taking it on the road. It’s way too difficult of a production to tour around and also getting the cast members together is a trick. So will this be the one and only? There might be one or two other shows, but I think this is going to be a limited thing. For New York this will be our only time playing this. Will there be one more on the west coast? I don’t know.

Baltin: How exciting is it for you then personally to get to mix it up by both going back out on the road and doing your film work?

Elfman: It was odd, I didn’t see it as going out on the road. I started doing the Elfman/Burton shows four years ago and that’s what really took me out of singing retirement and performing. I thought, “I don’t mind performing as long as I’m not me. I’m Jack Skellington, this character I really like.” So I did it the one time, I never expected I would do it again and then I ended up taking that Elfman/Burton show, where I sing some Nightmare songs, to about 30, 35 more performances over the four years.

Baltin: Would you want to do this with any other films?

Elfman: Right now my bigger interest is doing concert music live and getting that going. So film music wise, I’ve been satisfied doing Elfman/Burton and then occasionally I do like a live orchestra to concert. I really love the shows I’ve been doing and Nightmare is by far the most challenging because it’s requiring me to engage as a performer. But in terms of just seeing my music played live I like it, but it’s not my goal. I’m more into writing new music and seeing if I can get my concert music performed right now because, to me, that’s a bigger challenge. There’s a big enough film music audience right now that I could always do a show with any film or combinations of films and bring in an audience. The challenge for me is can I bring in an audience to hear music that I’ve written that I don’t know. I did two last year and I have two more coming up.

Baltin: Where are the two coming up this year?

Elfman: I wrote a violin concerto that premiered in Prague last June and we did last month in Hamburg. We’re hoping to record it in Scotland with the Scottish National Symphony in June. And I’m writing a piece for Berlin Phil right now that debuts in February. So I’ve got stuff that I’m trying to fit in between my crazy film schedule as best I can because I already have my first two films of the year lined up right now.

Baltin: I am sure it’s very invigorating for you to have a new challenge in your life.

Elfman: Yeah, it is. I need these things to keep me going, things that I’ve never done. So the film music concerts are fun and exciting and I’m happy to have that happening and as long as I enjoy singing and being Jack on stage I’ll continue to do it.

Baltin: When you first performed as Jack did it surprise you to find you did enjoy playing live again?

Elfman: It was interesting because it was very different. The style of singing is very different than anything I used to do and I didn’t know if I was going to like it. But the nice thing for me is it wasn’t like doing a reunion, where it’s like coming back after 20, 25 years and just doing my old stuff. It was very fresh for me because I’d never sung any of those songs live. So it really is and was still very fresh for me. And I’ve done few enough concerts of Jack that it hasn’t gotten to that point where the repetition starts to wear on you. The problem for me being in a band is I have a very low tolerance for how many times I could do the same thing in a row and I didn’t like touring for that reason. But, the way we’re doing this, which is doing a show here and there and having plenty of time in between, I haven’t even come close to burning out on it. So, right now, I love doing Jack. As long as I feel this way I’ll try to keep doing it. When I retired from the band everybody used to say, “Oh my god, it must be so hard on you, it’s Halloween." And I go, “No, I love the fact I don’t have to go on stage this Halloween, this is heaven for me.” I really didn’t miss performing at all. I never had a moment of like, “Oh, I miss being on stage, I miss being in the spotlight.” I know this sounds weird, but I was on stage for 22, 23 years and I was always a reluctant performer. I saw myself as a writer first who performs the material, but with great hesitation. I never loved being in the light.

Baltin: It is unique and admirable for a musician who spent 20 years in the limelight not to miss it. Most people need the ego feed after that attention.

Elfman: I learned really early on that I wasn’t wired that way. I know it sounds crazy but I feel weird getting applause. So at the end of the show people are giving me applause and I receive it, but there’s definitely a part of me that wants to run from that part. I want to just disappear. I’m wired weirdly like that. I don’t thrive on attention, I’m very happy being a creature of the shadows. But for this moment, the fact I’m bringing Jack out is enjoyable for me. I feel like Jack is part of me and I’m part of Jack.

Baltin: I was binge watching the second season of Stranger Things and one of the episodes features Oingo Boingo’s “Just Another Day.” Did you know back then your music was cinematic?

Elfman: No, I didn’t think that then and I definitely didn’t feel like I was destined to write for film. I thought that was an accident. I really honestly feel like I was a film music fan and I was called to the ball in the same way some basketball fan like Jack Nicholson might be sitting there right on the edge of the court, knows the game, knows the players and knows the moves, they toss him the ball and say, “Get in here.” My first film score I felt like I was a film music fan, I knew my Jerry Goldsmith from my Elmer Bernstein. But I was a fan and doing the writing actually never occurred to me.

 

[Elevator Man]

Danny Elfman’s Men in Black score coming to vinyl for first time... With two limited edition pressings to mark the film's 20th anniversary

It was 20 years ago that the good guys dressed in black first crashed into theaters with the alien-blasting blockbuster Men in Black. No matter how many zaps from a neuralyzer fans received during the subsequent sequels, nothing will erase the joyful fun of that first adventure. As much as that’s due to the chemistry between Will Smith and Tommy Lee Jones, credit is also due to the quirky and Oscar-nominated score from Danny Elfman. Now, to celebrate the film’s 20th anniversary, Elfman’s soundtrack is being released on vinyl for the very first time.

Due out via Enjoy the Ride Records tomorrow (!!), November 29th, the fresh vinyl pressing is available for pre-order here. The release will be extremely limited, with a web-exclusive variant edition featuring an attractive galaxy splatter coloring capped at 500 pressings. The same goes for the retail version, which will come on a silver slab of vinyl.

While the OST doesn’t include Smith’s iconic theme song, it does have Elfman’s instantly recognizable “M.I.B. Main Theme”. You’ll also flash back to all your favorite scenes with tracks like “Edgar’s Truck/A New Man” and “Orion’s Belt/Cat Stinger”.

 

[SilverBatarangs]

Justice League Clip Batman - Elfman vs Zimmer

Spoiler

[YT]Lr-1vDnm1aY[/YT]

The BvS so-called Batman theme is way too menacing and threatening for an opening to a scene that’s basically a meeting between Batman (some of the League) and Gordon. It actually had me fearing for Gordon's life b/c Zimmer/Holkenborg's pounding theme gave me the impression that Batman’s only there to kill/attack Gordon rather than just meeting up with him for any intel. Elfman’s piece, however, depicts Gordon’s anticipation of Batman’s arrival. The notes build into a full statement of the Batman ‘89’ theme as Batman makes his entrance. It didn't take me out of the moment i.e. made me think of Batman '89' or it's sequel. I also didn't feel that Batfleck was unworthy of the theme either. It just proved to me that Elfman's Batman theme could blend in with Batfleck's portrayal (at least in JL anyway).

Once this movie hits Digital/Dvd/ Blu Ray there's probably going to be more videos of this ilk (replacing Elfman's JL music with Zimmer & Junkie XL's MOS and BvS music) appearing on YouTube. Sigh! The DCEU/Snyder/ Zimmer & Holkenborg fans need to get over Elfman replacing Junkie XL and ignoring the majority of the establishing themes/motifs from DCEU. Plus Hans Zimmer supposedly retired from scoring superhero movies. Can't say that I blame him after BvS.

I wish they would have used both themes in JL.
Elfman's theme for Batman's most heroic moments, and Junkie XL's
theme towards the end of the film when he was blasting through
Parademons. They both could have worked perfectly together.

 

[Elevator Man]

Prior to being released in theaters nationwide January of 1998 Good Will Hunting received a limited release 20 years ago today. Elfman’s Celtic score was nominated for an oscar. Not only was it his 2nd nomination but he was nominated for two oscars that year. His other score nomination was for the first Men In Black movie.

Main Titles

Spoiler

[YT]A6NZeN_lH3E[/YT]

Will's Reflection

Spoiler

[YT]jgPSchgFAro[/YT]

Weepy Donuts (End Titles)

Spoiler

[YT]h9fWlR4vYbw[/YT]

 

[Elevator Man]

Composer Danny Elfman brings ‘The Nightmare Before Christmas’ to Barclays

Spoiler

[YT]J6yNe-LiXDs[/YT]

Danny Elfman talks about 'The Nightmare Before Christmas' at the Barclays Center

Spoiler

[YT]9QOkj-9ftng[/YT]