Discussion in 'Batman World' started by GoogleMe94, Feb 11, 2008.
Dont Worry, He Wont Get Far on Foot Soundtrack Details
Scrooged Going OOP!!!
Errol Morris' Standard Operating Procedure, which is an obscure 2008 documentary that explores the 2003 Abu Ghraib prison scandal. The documentary was released in a limited amount of theaters a decade ago today. Elfman's underrated score is at times riveting, contemplative, mysterious, somber, and unsettling.
S.O.P Theme #1 Standard Operating Procedure
The Infamous Pyramid
Standard Operating Procedure - Gilligan (Danny Elfman)
Elfman at the Standard Operating Procedure premiere back in 2008.
Oz The Great And Powerful LOW QUANTITY ALERT! Less than 275 remaining!
Interview: Bear McCreary Showers Love on Oingo Boingo on the Eve of Danny Elfmans Birthday
La La Land/MV Questions thread
Interview: Bear McCreary Talks Danny Elfmans Influence
Danny Elfman's Most Successful Compositions
Happy 65th Birthday (and many more) To Danny Elfman!
Twyla Tharp's ballet Rabbit And Rogue premiered at the Metropolitan Opera House in New York a decade ago today. Elfman wrote an amusing whimsical score, which somewhat bridges the gap between his first classical composition concert, Serenada Schizophrana, and his score to the contemporary circus performance, Iris: Cirque du Soleil
New Orchestral Work by Danny Elfman comes to The Soraya in 2019
Hulk was released in theaters 15 years ago today. Ang Lee's dark psychological take on the tragic Marvel character allowed Elfman, who had replaced Mychael Danna on the project, to come up with a more complex score that explored both the psyche between Bruce Banner/the Hulk and Banner's own repressed memories of a traumatic moment during his childhood. It's a score that is very unique from Elfman's superhero output.
...Making Me Angry
The Lake Battle
Elfman at the Hulk premiere back in 2003.
Timur Bekmambetov's loosely based adaptation of Mark Millar's graphic novel Wanted was released in theaters a decade ago today. Elfman's quirky, propulsive, and masculine score complimented the film's tone impeccably.
The Little Things
Elfman at the Wanted premiere and after party back in 2008.
Danny Elfman Wanted Video Mashup Contest
Elfman's score for Batman (1989) is one of, if not the best score I've ever heard for a film. For me it's up there with John Williams score for the original Star Wars. The music takes the film to another level. Can't imagine what it'd be like without it.
One of my most prized possessions is a copy of the soundtrack that I got signed by Elfman.
La La Land Records has redesigned their website.
They've dropped prices on certain titles as well.
Both Elfman's Restless and The Unknown Known are now $5.00 each.
Also: NEW WEBSITE GRAND OPENING CELEBRATION! 25% OFF YOUR ENTIRE ORDER! NOW THRU JULY 22
Guillermo Del Toro's second (and final) installment in the Hellboy franchise, Hellboy II: The Golden Army, was released in theaters a decade ago today. Marco Beltrami, who scored the first installment and Del Toro's American films prior to it, didn't return for the sequel and instead Danny Elfman was hired to write the score. For Hellboy II Elfman went back to his roots and wrote a dense score that exhibits the bizarre and mystical world that Hellboy and co. inhabits. Even though Elfman didn't adapt any of Beltrami's themes/motifs, it still manages to be a worthy sequel score to Beltrami's underrated original. Just a shame Elfman hasnt collaborated with Del Toro on any other projects but Hellboy II.
Hellboy II Titles
Father And Son
A Troll Market
The Last Elemental
In The Army Chamber
Danny Elfman on Dont Worry, He Wont Get Far on Foot and Reteaming with Gus Van Sant
Danny Elfman Talks Crafting Music for Gus Van Sants Dont Worry, He Wont Get Far on Foot
Danny Elfman to Score The Voyage of Doctor Dolittle
Martin Brests action comedy/ semi buddy road trip movie Midnight Run (starring Robert De Niro and Charles Grodin) was released in theaters 30 years ago today. Elfman wrote a blues driven score that distinguished it from the comedies he scored at the time. The score is still quite unique from his overall output. Aside from Forbidden Zone, the Midnight Run score is probably the closest to an Oingo Boingo score. Sometime last year La-La Land Records mentioned about re-issuing the soundtrack, which has been long OOP for many years, this year. Hopefully it doesnt/didnt get postponed to next year or beyond..
Midnight Run - Walsh Gets The Duke / Main Titles / Diner Blues
Try To Believe
Big Top Pee Wee, the sequel to Pee Wees Big Adventure, was released in theaters 30 years ago today (two days after Midnight Run was released). Although Tim Burton didnt return to direct it, Elfman returned as composer. However, due to legal reasons (due to both films being distributed by separate studios) Elfman couldnt adapt or expand upon his themes from Pee Wees Big Adventure. Elfmans Big Top Pee Wee still manages to be worthy companion piece to his Pee Wees Big Adventure. Elfman wrote a quirky frolic score that was sort of a stepping stone for his circus/carousel music that recurred in some of his scores from that era. Big Top Pee Wee is easily one of Elfmans most underrated scores from earlier in his career. For those still interested in this score the La-La Land Records expanded album is still available as of the date of this post.
Big Top Pee-wee: Main Titles / Rise 'n Shine
All News La La Land (LLL)
I was reading the McCreary interview about his being a fan of Elfman, and it goes deeper than just being a fan of Oingo Boingo. He states in the liner notes for "The Cape" that his score was a loving homage to Elfman, Shirley Walker, and John Williams.
And it is. I highly recommend that album.
Tulip Fever is a period piece drama about an unhappily married young woman named Sophia (played by Alicia Vikander), who has an affair with her painter Jan (played by Dane Dehaan). Jan and Sophia eventually fall in love. They attempt to keep their affair a secret from Sophias husband Cornelis (played by Christoph Waltz), whos always been more concerned with her conceiving his heir than their marriage. Sophia seems to be infertile due to Cornelis having difficulty impregnating her after countless failed attempts to do so. Meanwhile Cornelis and Sophias maid Maria (played by Holliday Grainger) is in a secret relationship with a fisherman Willem (played by Jack OConnell). Theyre in love and want to share their life together. So Willem invested in the tulip bulb market boom (hence the title Tulip Fever) and gets rich off the shares. With the profits Willem plans on marrying and running away with Maria. Things go awry for the couple after Willem mistook Maria for Sophia, after he stalks and catches her having her affair with Jan. Heartbroken and angry Willem gets drunk, into a fight, is then forced into the Navy and disappears. Maria assumes Willem abandoned her and took off with their tulip shares. Which couldnt happen at a worst moment in her life because its revealed that Maria is pregnant with his child. Out of fear shed be forced to leave and fend for herself once Cornelis finds out about her pregnancy. Add on top of the frustration that Cornelis being unable to get Sophia pregnant. Maria threatens Sophia about exposing her affair with Jan to Cornelis. However, Sophia agrees to keep Marias pregnancy a secret from Cornelis regardless. Sophia schemes to trick Cornelis into believing shes pregnant with his child using Marias pregnancy as a decoy for theirs. Jan and Sophia plot to leave the country together by also investing in the tulip bulb market, reaping the profits from the shares, while using Marias pregnancy to fake her own death during the childbirth. However, things dont go according to plan.
Tulip Fever was delayed and on the shelf for two years. When it was released in US theaters in the fall of 2017 it received negative reviews. However, I dont think its nearly as bad as the critics proclaimed it to be. I know it isnt saying much but its a lot more tolerable than the Fifty Shades Trilogy thats for sure. So even though Im normally not into these kind of movies I thought Tulip Fever was a decent romance movie at best. The subplot with the tulip bulb market, which was actually mostly fiction from what I heard, was interesting. The movie featured some solid performances from most of the cast. I do feel the movie kind of rushed into the romance/affair between Sophia and Jan. By the middle of the movie it seemed like the subplots began to overshadow their romance. In fact, Tulip Fever couldve used an extra 15 minutes but I was entertained overall.
Danny Elfmans solicitous score effectively compliments the tone and narrative of Tulip Fever. Its rare for Elfman to compose music for a romantic period piece drama. Sommersby,which took place after the American Civil War, was his previous and only one. Normally these particular projects are scored by Alexandre Desplat, Dario Marianelli, or by composers of their ilk, but Tulip Fever was a welcome change of pace for Elfman. While Sommersby was a more lush, pastoral, and somewhat solemn score, Tulip Fever is more dense, little more pensive, and less rustic. The Tulip Fever score consists of mostly piano, a boy soprano, violins, and other string instruments. With the story taking place during the 17th century, Elfman going in the traditional orchestral route with the score might seem predictable. However, his approach still wouldnt be jarring if the movie/story/romance took place in the 21st century. Elfman seemed to have found a balance between an old fashioned and contemporary score. In fact, some moments in the score remind me of his work from the Errol Morris documentaries Standard Operating Procedure and The Unknown Known.
Elfmans score consists of a few themes/motifs. Sophia is given an emotional theme (Sophias Theme), which is basically the scores primary theme. Sophias theme depicts the characters internal conflict of being in an unhappy (also arranged) marriage, which mostly revolves of her being used as a trophy wife to bear her husbands future heir. Her emotional theme also reflects her difficulty of keeping her ongoing affair with Jan a secret from her somewhat controlling husband. I feel Sophias theme contemplates on the life changing choices shes made and is about to make. Sophias theme, which is very elegiac, is often played on piano and strings. Her theme can be heard in Sophias Theme, briefly near the end of The Unveiling, A Storm Is Coming, Devastation, The Wait, Its Done, The Storm, The Grand Finale, and Sophias Theme (Reprise). Theres also a more serene variation of Sophias theme used during Willem, which somewhat reflects Marias own admiration for Willems charming and upbeat personality. A more ethereal rendition of Sophias theme (mostly performed vocally by a boy soprano and choir) recurs in Happy Family, which reveals certain characters receiving a happy ending.
Elfman introduces another sympathetic theme/motif, which can be heard in Lost, Ultramarine, and Nailed. Aside from Ultramarine the track titles doesnt really give me much indication of who or what this theme/motif represents in the movie. Since ultramarine is the color Jan uses to paint Sophias blue frock in his painting of Sophia. I believe this motif portrays Jan and Sophias sincere attraction and affections for one another. The heartfelt motif is often performed on piano and string instruments, but is played with more urgency in Nailed. Aside from the three tracks mentioned it doesnt really get fleshed out enough on the album.
A buoyant and frolic eight note motif is introduced in The Unveiling. Not quite sure what this motif supposed to represent in the score/movie. Since Jans character is often out on the streets maybe this eight note motif depicts his enthusiasm to paint and perform art? Are maybe it depicts Sophia feeling independent whenever she leaves the mansion? Its a very pleasant and cheerful motif that could also be heard (performed on what sounds like acoustic guitars/ string instruments) in The Streets and The Streets - Part 2.
Maria was given somewhat of a theme, which can only be heard in the very brief track Marias Theme. Its a very relaxed and comfortable theme, which characterizes Maria being content with her life, her secret relationship with Willem, and with her occupation as a maidservant for Cornelis and Sophia.. I dont recall Marias theme appearing anywhere else on the album. So unfortunately it doesnt get anymore developed. In fact, Marias Theme is barely under a minute long. So the theme doesnt really amount to much on the album. Probably shouldve re-titled it as Marias Happiness, Maria And Willem, or just Maria.
What I consider the highlights of the album are Sophias Theme, Lost, The Unveiling, The Streets, The Streets - Part 2, Devastation, The Wait, Its Done, The Storm, The Grand Finale, Happy Family, and Sophias Theme (Reprise).
Despite some tracks being too short and ending abruptly I enjoyed the score overall. The album, although a little short (its under 45 minutes long), is tightly paced. However, I wouldnt had been bothered if the album was 10-15 minutes longer, but Im not sure how much more music Elfman wrote for the movie, which is over 105 minutes long. I do remember the movie having plenty of music in it. The score isnt very melodic but there are some compelling recurring themes/and motifs. I believe the album (as well as most modern Elfman scores) benefit from multiple listens. Tulip Fever is highly recommended to fans of Elfmans more intimate, restrained, and earnest scores e.g. Standard Operating Procedure, The Unknown Known, Promised Land, Fifty Shades Of Grey.
By the way this isnt a criticism of the Tulip Fever score, but dont expect this score to be another Sommersby (for those familiar with that score/movie), which some disappointed fans have done, unfortunately. Just because both are period (although taking place in different time periods) romance movies doesnt mean the scores are going to reflect each other in tone and approach. Not to mention both movies couldnt be anymore different from one another. Both are stellar scores in their own right.