Batman '89 The Danny Elfman Appreciation Thread

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The summer of 2002 Elfman showed his lighthearted, fun, and action packed side for Spider-man. As well as showed an even wackier and quirkier side (than he had for the original) for MIIB. Both solid scores, imo. Now Elfman returned to his dark side for Red Dragon. Which is probably his darkest score to date. And that's saying a lot since he's scored plenty of 'em.

I remember how exciting it was to see him score a project like that and a Hannibal Lector movie at that. It was nice seeing him return with Ratner again since I thought they made a great team for The Family Man (2000). I knew of Shore's SOTL score (though I don't own the album) and knew of Zimmer's Hannibal which I also think is a great score. I think he held his own against those too. All the scores fit their specific films. Red Dragon (the film itself )was well made and showed that Ratner can pull off serious material if given the opportunity. I feel that the film is underrated probably b/c it'll often get compared to SOTL and Manhunter (which RD is a remake of). I thought Ratner put in a strong effort and got some strong performances from the cast.

When I first heard Elfman's score I thought it was good. But didn't hold it highly like I do now. The score grew on me a year or two after I owned the cd. I saw the score for what it really was, which I think is a real gem. The score is dense like a lot of his scores today and then. It's another textural score which I love about his scores. You tend to notice the themes more after every listen. Well I did anyway.

I can't find any videos on YT with cues from the score. Someone deleted the videos, oh well. I think the score as a whole is great. Here are some of the highlights. "Logos", "Main Titles","The Old Mansion", "The Note", "Enter The Dragon", "Love On A Couch", "He's Back", and "End Credits Suite".

"Logos" plays the Red Dragon theme during the logos. It's short , creepy, effective and grabs your attention immediately. As well as sets you up for a dark and disturbing movie.

"Main Title" is probably one of Elfman's darkest and most haunting main titles that he's written. It really captures the tone of the film and what's happening on screen. I love how the Red Dragon theme creeps in. I never really heard this side of Elfman before especially at that time. Usually he's held back by humor or something that balances the dark with the light (Darkman and most Burton movies). Though Dolores Claiborne was dark and textural as well and was also very dramatic. Kind of scored like a drama with some suspense music. It also didn't deal with the themes RD did. RD really has nothing to balance the darkness. Elfman really cuts loose and doesn't hold back, which I appreciate.

"The Old Mansion" is a great track. It starts off peaceful and then gets dark. Once the RD theme kicks in. I love the way the track builds up in the film. It's creepy. The theme feels like it scoring a person who's became a monster and who's lost his humanity almost completely. I think this track plays as the RD is lifting weights. Especially as the theme gets heavy and ugly. It's a real clever theme. Elfman does so many variations of the theme in that scene . It's very well developed.

"The Note" is another nice cue. It plays when the janitor finds a note from the RD in Hannibal's cell. The cops try to find what is on the letter b/c Lector burned a part of it. While trying to keep Lector occupied somewhere else while trying to figure what was burned on the note. Very well written cue. Although the track is edited on album. Elfman does so many interesting things with this track that it's hard for me to describe.

"Enter The Dragon" is a very dark track. It opens very dark when the RD kidnaps and tortures his next victim. The RD theme builds up slowly. While building the tension and suspense of what the RD will do to his victim at the same time. The theme gets real horrific as the RD reveals his tattoo of the Red Dragon on his back. The music gets more and more distubing when he shows photos of his victims to his current victim. Then ends softly as if it's over but not for long.

"Love On A Couch" is a another dark and disturbing track. It builds up to the RD theme in a more disturbing way than the "Enter The Dragon" track. B/c the RD is on a date with a blind co-worker and is watching home movies of his victims. While his date is about to perform a sexual act. Probably one of Elfman's most disturbing cues. Then the morning after the one night stand. The RD wakes up to find his lover gone. The RD begins to go crazy and even runs around in the nude looking for his lover in his home . The music goes carzy as the RD does. It really gets inside the RD's head as he decides rather to kill his lover or not. The music plays to the voices the RD only hears in his head. Another well written cue.

"He's Back" is the music that plays as Norton's character and family faces the RD at their home. Very dark and suspenseful track that keeps you on the edge. Elfman pulled out all the stops on that track. I like how the cue wraps up. I remember I got chills at the end when Chilton tells Hannibal that an FBI agent wanted to speak to him about a case. But Chilton told them that Hannibal wasn't interested. After a few seconds Hannibal asks what was the FBI agent's name. I love the way Elfman scores that. It was a good way to set up SOTL since this was prequel.

"End Credits suite" is a really great tarck. And a nice way to wrap up the album. It's even longer than it is in the actual film. He wraps up the themes nicely. It's one my favorite end credits from him.

Overall I think the RD score is a masterpiece. I also feel it's underrated, overlooked and doesn't get enough attention. He hadn't written tracks like "Enter The Dragon" since "Selina Transforms" from Batman Returns. I also think the RD theme is one of his creepiest themes. And better than Zimmer's Joker motif. Elfman's RD theme is how you score a psychotic/ schizophrenic killer. He didn't need a one note theme. This theme is everything that's lacking with Zimmer's Joker theme. But anyway I think this is a very good score. This is another score that shows Elfman's range and maturity as a composer. And people should check out if they haven't. It's dark and disturbing at times, but it's a very well written score.
 
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In 2003 Elfman originally only had Tim Burton's Big Fish on his plate. But that change when he was called in to write a replacement score to Ang Lee's Hulk. Originally Mychael Danna wrote a score but I guess the studio didn't like what he came up with and wanted something more traditional. Although Elfman's score was far from traditional, imo. But the studio wanted someone who had experience in this particular genre. As well as someone they felt comfortable with.

Ang let (or demanded) Elfman get out of his comfort zone. And enabled him to write something unique from his other superhero scores. Something that you wouldn't expect from Elfman. I think Elfman succeeded. The amazing thing is Elfman had a month to score Hulk. So that alone is impressive. To come up with something unique and unlike anything he's ever done before.

Elfman's Hulk is another dense and textural score from him. It's also very percussive and ethnic. It really fits Ang's vision like a glove, imo. I also like that motif he gives the Hulk . It represents the psychological side of Hulk and Bruce Banner. As well as Bruce's childhood. I also like that he doesn't give Hulk a heroic theme/march since Hulk is an anti-hero at least in my eyes. But this is more of a thinking man's comic book score. Just like the film is a thinking man's comic book movie. I think the score really compliments the film nicely. The film wouldn't be as effective without Elfman's score, imo.


The "Main Titles" is very different from yor average superhero main titles. As well as Elfman's own superhero main titles (even Darkman). It's Herrmann-esque. Elfman does a homage to Herrmann's Vertigo. This main title (just like Elfman's other main titles) set the tone for the film perfectly. It lets people know that this isn't your average superhero movie. It feels psychological, tragic, dark and plenty of things that describes this Hulk and film perfectly. It also matches the images it's written for. It really sets you up for what's to come.

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"Betty's Dream" introduces Bruce's and Betty's love theme. It fits what little romance Bruce and Betty had in the film. It's very beautiful and touching. As well as unique from Elfman's other love themes. Although it's similar to Elfman's POTA love theme. It also really goes well with the scene it's written for. The scene wouldn't be as effective without it. I also like the vocals by Natasha Atlas, which added more beauty and depth in the cue , imo. Though there are some micro- edits in the track.

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"Captured" is another track that showed a side of Elfman we haven't heard before. Though this version is slightly different than the one in the film. This cue is played during the long scene where Banner is captured and being taken to a government facility by air. Natasha Atlas' vocals really elevate the track and is performed very well by her. I remember people were saying this track sounded like Black Hawk Down, why ? B/c it had vocals and ethnic music playing while helicopters are flying and soldiers are being shown? :whatever: Please this track sounds nothing like Zimmer. In fact I take this track over most MV/RC cues/scores.

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"Hulk Out" cue really lives up to it's title. I love how the music builds up more and more. It's like a ticking time bomb ready to explode. It turns tragic, frustrating, angry, and chaotic. Elfman really nailed that scene. I like how the music was when Hulk sees his father after his destruction of the lab. Very touching and sad then it gets dark and angry just like the character itself. The theme ends off on an epic and strong note as the Hulk jumps in the air.

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"The Truth Revealed" is a very sad and tragic track that reveals Bruce's and David's past. Atlas once again sells it with her vocals. She performed her vocals are beutifully and sad at the endof the cue. This track was oscar worthy, imo.

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"Hulk's Freedom" is a beautiful, epic and peaceful track that captures what the Hulk is feeling as he's jumping in the air and enjoying his freedom. It really captures Hulk's freedom and feels like you're up there with him.

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"A Man Again" is probably the highlight of the album b/c it really captures that scene so well. When Hulk is surrounded by the army in the middle of San Francisco as Betty tries to calm him down. It's a beautiful and sad track. It really enhances the scene and wouldn't be as effective without it.

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"The Lake Battle" is an amazing track and is not scored like a typical comic book movie action scene, imo. It feels like something else. It's almost philosophical. He really takes the Hulk motif to epic proportions when Absorbing man strucks Hulk with lightning and you see Hulks silhouette in the clouds. I love how the music is when the camera pans through the ice river and pans though Hulk's mind. And as he tells his Dad to "Take it all !". The music was very strong and powerful. This track left an impression on me back in '03'. This track felt like something more than an action cue about Hulk and Absorbing man. It was a battle of wits. I remember I got a similar impression from Don Davis' "Neodammerung" track from The Matrix Revolutions score that same year. Both tracks felt like something more than just action music, imo. I can't put my finger on it. "The Lake Battle" is definitely one of the most unique action cues in any movie, imo.

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Overall I like all the tracks. Each track have something I like about them. Some are heavily edited though, but still make great listening. This is another score that takes repeated listenings to appreciate. The score seems to be liked by some up here b/c of how unique it was from Elfman's past work and superhero scores by other composers. Some have complained that it felt rushed. But it doesn't to me. And I enjoy it everytime I listen to it. I think it's another great score from Elfman.
 
Does anyone have a download link they could pm me with this collection? If so itd be greatly appreciated.
 
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After his dark, brooding, percussive and ethnic/middle eastern score to Hulk. Elfman returned to Burton to score Big Fish. Based on the book by Daniel Wallace. The movie is about an estranged father (who's also dying) and son ,who are trying to reconnect in each other's lives before it's too late. The son tries to find out who his father is through his tall tales. This is a very good as well as underrated movie. This movie really showed Burton getting out of his comfort zone. With strong performances from the whole cast. The production design and everything you expect Burton to be perfect on is all top notch. Even the script. I think the Oscars overlooked this one. But at least the score by Elfman was nominated.

Elfman's score isn't his typical score for Burton's films. It's very southern and captures that Alabama setting. It really captures Edward Bloom's journey through life and the people he touched. As well as really his romance with Sandra (Edward's wife), and his flawed relationship with his son. I was really happy that the academy gave some attention to Elfman's score. To a score to a Burton film at that.

The cd opens with songs from the film. Which works fine in the context of the film. Pearl Jam's "Man of the Hour" really suits the film quite well. And I think should've been nominated for an Oscar also for best original song. oh well.

Elfman's score suits the film perfectly. The film wouldn't have been as effective without it. It really touches or tugs the heartstrings. The score does more than just make us feel sorry for a dying man. It's also a very emotional, inspiring, pleasant, beautiful and touching score, imo.


"Big Fish (Titles)" isn't your typical main title music for a Burton film. The main title in the film itself isn't flashy or typical of Burton. As the movie's playing the credits show up as it would any other indie film. Elfman's score isn't dark, gothic , quirky , bombastic or typical of Elfman. In fact the music is more southern, mysterious (not in a dark way), sentimantal and beautiful. It underscores the scenes perfectly.

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"Underwater" is a very beautiful and choral piece. It plays during the scene where a young Edward Bloom is driving in his car on a rainy night. And all of a sudden his car goes under water and a nude human fish girl (or mermaid) swims toward him.To show that his character has returned to the town called Spectre. Very nice track.

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"Sandra's Theme" which plays during a montage of scenes where Edward is showing his love for Sandra in different ways. Eventhough they both don't know eachother. I love the theme that Sandra has . It's very beautiful and heartwarming. It's not played as unrequited love like most of his love themes. And the cue get's really powerful when Sandra opens her windows (in her campus bedroom) and sees Edward standing in a grass full of daffodils. That he planted there himself.

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"The Growing Montage" is one of Elfman's best montage cues. It goes through so many emotions in this track. It's starts off kind of quirky & funny, then gets magical, to hopeful & heroic, to epic & powerful, to happy & touching, to dark, spooky and mysterious. One of the few dark moments in the score (that plays at the last few seconds of the track) and film. What an amazing track. Since this is the only YT video I could find that plays the track the way it is on album. Start the track at 5:06 -7:02. That's "The Growing Montage" track.

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"The Journey Home" is another great and touching track, it plays when Edward was a soldier in WWII (I think) and he helps these foreign siamese twins go to america if they help him escape the war so he can return home. With their help he escaped and b/c of this the military notified Sandra that Edward was KIA. She starts crying. And (I guess) a few days later (or right after I can't remember) Edward shows up in uniform while Sandra is hanging her clothes up outside to dry and surprises her. Very touching and emotional cue and scene.

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"Finale" is probably the highlight of the album. Though some micro-edits are done to the track on the album. It's still there. 95% of it anyway. It's still a long (in a good way), sad, touching, sweet, and beautiful cue. It really pieces everything together and wraps the score (and film) up nicely. This track alone is why Elfman should've won the oscar that year. That last 12 minutes in the film wouldn't have been as effective or emotional without it. This track (down there) is slightly edited at the beginning b/c piece of it was playing at the end of part 5.

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"End Titles" is a happy track with a lot of heart. Very southern at the beginning. I feel that the cue celebrates Edward Bloom's life/achievements and the people's lives he touched. The music feels as if it's saying that Edward will live on through his tall tales. And is a legend. A very warm track.

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"Jenny's Theme" is a sad and bittersweet theme. It reflects the love Jenny has for Edward that can never be. Since Edward was a young adult when they first met and she was only a little kid. When they meet up again at her more appropriate and legal age. Her love for Bloom continues to never consumate b/c Bloom is now a married man, So I guess Edward (for her) is the one that got away. The music I think reflects that b/c Jenny was lonely most of her life and wanted him stay twice (when she was a kid and an adult).I think the theme reflects her loneliness. One of Elfman's most touching themes.

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I can go and on about this score but I'll be up here all week. Every track is a beautiful piece of art and has something to like, imo. It's underrated lke the film itself. One of Burton's best films. What I love about this score is that it's not typical of Elfman. Just like the same reason I like the film. It's not typical of Burton.
 
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Part 1

2004 had a lot of movies I was anticipating, everything from Hellboy, The Punisher, I, Robot, The Chronicles of Riddick, Sky Captain & the World of Tomorrow , The Incredibles and so on. But Spider-man 2 was the most anticipated movie for me that year. Especially after the amazng first film. I used to watch the teaser multiple times everyday on "The Missing " dvd a few months before Sp2's release. Just to keep me calm. It was torture waiting for this film to come out.

Elfman's score was also the most anticipated score for me that year. As you already know I thought the first score was amazing and at times underrated. B/c of the harsh criticisms from fans. I couldn't wait to see what Elfman would come up with for the sequel. How he would develope the Spider-man motif, Peter Parker theme, MJ theme, and Aunt May theme. As well as what he'd come up with for Doc Ock.

Given Elfman's track record with sequels. I knew he couldn't disappoint. His Big Top Pee Wee score wasn't a rehash of his Pee Wee's Big Adventure score. His BR score was also very different from his B89 score. I know the films were very different themselves. But still. Same could be said about his MIIB score which didn't feel like a rehash of the first. Eventhough the same can't be said about the film itself.

Another thing I loved about the Spider-man 2 teaser was they made good use of Elfman's music from the first film. Which was only things to come for the actual film. :whatever:


I remember being surprised and disappointed in the score in the final film. B/c most of the tracks were tracked in from the first film. It kind of hurt my experience watching the film the first time. It still does. Eventhough I still enjoy Spider-man 2 to this day.

At the time that bugged me to no end that Elfman's score was a rehashed of the first. I knew that wasn't possible b/c (despite what people say I'm talking about you KAW) Elfman never rehashes. So I start doing research on the Spidey 2 score. I looked for interviews with Elfman on the score. I came across one from the "Spider-man 2 The Official Movie Souvenir Magazine". Elfman talked about his score and how he approached Sp2 musicwise. He also mentioned how much he stayed away from the temp tracks and that he wrote over 85 minutes of music. That was a big relief for me. B/c I knew Elfman wouldn't sell out like that.

Things really started to unfold when I bought the album in August of that year. Which was quite exciting despite it's circumstances in the film. I heard a lot of tracks that were replaced in the film but on the cd. Things really started to be put into perspective when I checked the features on the dvd. It had a featurette on Elfman's score . It had footage of a scene ( Spidey falling in an alley after his powers fail him a third time) with the original music. And it wasn't on the album either.

Sometime in 2005 it was confirmed that Elfman and Raimi had a falling out b/c according to Elfman. Raimi fell in love with the temp music (which was music from Sp1 and Hellraiser and possibly others) and wouldn't use most of Elfman's new material. Which bruised Elfman's ego a bit. I really can't blame him. He said scoring the Spiderman movies are like scoring two movies at the same time. That's probably why he scored one movie that year (2004). Plus he said he liked scoring both films. So it was really a shame. B/c of that it cost Elfman Sp3. That could be either a good thing or a bad thing depending on how you feel about the Sp3.

To be continued...
 
Part 2
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The cd has 15 tracks. 14 Elfman tracks and one track (also the last track on the album) featuring the "Raindrops Keep Fallin' On My Head" song that was also in a key scene in the film. I'm going to talk about all the Elfman tracks on the album and put up the scenes that were replaced by the temp music that were on the album. Basically I'm going to put up the scene with the music Elfman intended for it and give my thoughts on 'em. But I'm only posting the ones that were on the album. I will provide a link where you can see most of the scenes with the cues Elfman originally composed.

"Spider-Man 2 Main Title" is similar to the first except with slight tweaks. There's also less synthesisers used than in the main title in Sp1. It's also shorter. It features the Doc Ock theme in the middle. With all three of Doc Ock's themes combined. When I first saw the film I thought the main title music was the same as the first with only the Doc Ock theme added. When I listened to the main title for the first time on the album I did notice slight differences from the Sp1 main title. I decided to use the YT video of the actual main titles (instead of one with just the music and a Sp2 poster or photo) I think Elfman's music and Ross' beautiful paintings compliment each other nicely.

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"MJ's New Life/Spidus Interruptus " (which is actually called "Spotting MJ" on Elfman's cue sheet) is the track where Peter is standing across from MJ outside of the theater where her play took place. And he sees MJ with another man. In this case her boyfriend. I love the way it starts off. The MJ theme is really beautiful and touching. It captures everything Peter is feeling in that moment. He's shocked and heartbroken to see MJ with somebody else. But then realises he has a responsibilty to fulfill the moment he sees police sirens passing by him. He runs to his destiny that he so wants to put behind him instead of his personal life. The music really gets powerful as Peter becomes Spider-man. Which is wher "Spidus Interruptus" begins. The music becomes triumphant, heroic and epic. And thankfully that part made it in the film. Eventhough the chorus (during the shirt rip) was dialed out on the album. In the film the "MJ's New Life" cue was tracked in with the cue 'Getting Through" from Sp1 (the music during MJ and Peter's conversation at the hospital). Funny thing on the commentary Raimi praised Elfman's score for that particular part. LOL. Here's "Spotting MJ/Spidus Interruptus":

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They forgot to put the title of the second track that plays after both "Spotting MJ/Spidus Interruptus". It's actually called "Not Back Yet" and was actually replaced (in the film) with the Spider-man "Main Title" with snippets of the music during the bridge scene in Sp1 towards the end of the cue. This cue ("Not Back Yet") made real good use of the Spider-man motif. The scene this cue was originally written for was when Peter tried to get his powers back and jumps over the roof and yells "I'm back!" Then realises he's not and pulls one of the funniest stunts put to film. Which isn't surprising with Raimi behind the camera. Elfman plays it straight. And it captures everything Peters feeling and wants. It almost feels as if the music is rooting for Peter to suceed. It doesn't feel overly dramatic. It's perfect so I don't know why they replaced it with the "Main Title" from Sp1. I'll post a YT video clip of the actual scene up later of the "Not Back Yet" cue b/c it plays after the "Aunt May Packs" scene in the film. They have the clip with that cue also. So I'll post it when I get to the "Aunt May Packs" track. Here's the "Not Back Yet" cue without the scene. Though the album is edited a few seconds but this is the full version.

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"Doc Ock Is Born" is the track that plays during the surgery room scene. Where the doctors try to remove the tentacles off his back. Elfman actually wrote music for the tentacles attacking the doctors but was dialed out of the film. Probably b/c it was scarier without it. Personally I think it works fine with or without the music. When Ock awakens and realises that he's trapped with the mechanical arms for the rest of his. As well as the mayhem the tentacles inflicted on the doctors while he was asleep. An in classic Raimi fashion yells "NOOOOOOOOOOO!" The music is perfect on that part and really captures the fear that Octavius has that he's now become a monster that can't be cured. That part was edited out on the album (the music palying during the "NOOOOOOOOOO!" part. When Ock awakens his main theme was used. But when he escapes out of the hospital a second theme was used. He always uses that as Ock's escaping or leaving in the film. I don't know what to call it really. B theme ? The cue is really well written and captures the tragedy the character's going through and what he's now become. The track I'm posting is in it's complete form and not the album edit.

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I'm also posting the cue where Ock reveals his tentalcles and fusion reactor. As well as the mayhem that occurs after and the surgery scene. Chris Young rescored the whole scene. And wrote something more in the vein of Hellraiser. Which almost took me completely out of the scene b/c of how distracting it was. It felt like a horror movie and didn't belong in a movie like Sp2, imo. Totally out of place. This bugged me when I first saw Sp2 in the theater. I think Elfman's is easily the better cue and more appropriate. I love the way Elfman scores the scene where Spidey saves Harry. Very dramatic. I also love how he scored Spidey trying to pull the plug before Ock almost gets electrocuted to death and before the reactor almost blews up half the city. Once again I don't know what Raimi was thinking.

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"Angry Arms" is the track during the scene where Ock (who is feeling sorry for himself) is at a condemned pier or whatever. Which will become his new lair. The music starts off sad. It sounds like it feels sorry for Ock and his situation. Then becomes more menacing. The cue really gets inside Ocks head and captures what the tentacles are saying to him. I like how menacing the theme gets in the track. I love it.

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The sceond half of the track is "Rebuilding" and it plays during the scene where Doc Ock is building the machine and lits and smokes a cigar as his tentacles continue building and working. The film tracked in the last few seconds of "Angry Arms" I guess b/c it sounded more evil and sinister than what elfman originally wrote. Like cue the supervillain theme b/c the supervillain plot is unfolding. And Peter is having difficulties being Spidey and may not be able to stop him b/c of it. I like what Elfman wrote better b/c it captured what Ock was feeling like while his tentacles are putting his fusion reactor together and doing other various things at once. He could just sit back and puff a cigar. I love how calm Elfman's music is there. The track they used in the film made it sound cliche.

I'll post a YT video of the "Rebuilding" scene but it's the last few seconds that plays after the "Spiderfall" scene ( after Peter throws the newspaper in his bedroom). The "Spiderfall" cue is not on the album. I'm going to post it anyway b/c the "Rebuilding" scene is attached to it. Therefore the cue actually follows closely after "Spiderfall'. I guess the people that put the album togther thought "Rebuilding" flowed better with "Angry Arms"

The first part of "Spiderfall" ( Where Peter takes a photo of MJ and her fiancee after being slapped by Harry. That then fades into Spidey swinging peacefully above NY only for his powers to fail on him again) is badly butchered in the film.

Elfman really captures Peters heartbreak and turmoil over MJ marrying another man (which happens to be his boss' son) and that Peter is losing his friendship with Harry. His personal life is crumbling b/c of his responsibitites as Spider-man. I think Elfman excellently captures what Peter is feeling in that scene. As well as Spidey's swing through NY. It really captures what Peter is feeling as Spiderman inside and the action that's happening on screen at the same time. His freedom from his personal problems. He looks for trouble to get his mind off of MJ and Harry eventhough he probably is thinking about both in some form or another. Then the music interrupts Spidey's peaceful swing and shows that even Spidey can't have a break or time to enjoy himself. And is now about to have more problems only this time with his powers. The rest of the cue was intact. But I don't know why Raimi and co. replaced what Elfman originally wrote. Don't wanna know either.

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"A Phone Call" is a touching track where Peter tries to tell MJ he's Spider-man on a pay phone. Though his phone call was disconnected. So MJ wouldn't hear him anyways. Elfman let's the Spidey theme carry most of the cue but then ends it with Parker's theme. The music really captures what Peter wants to tell MJ but can't and it reverts back to the Parker theme. Like back to his continuing journey of problems and difficulties with balancing his and Spidey's responsibilities. Excellent cue. This version is the film version. The album version starts off a bit differently. But otherwise the rest of it's the same.

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"The Wrong Kiss" is the cue where MJ experiments the upside down kiss with her fiancee. But realises that their kiss lacks the same punch or spark or whatever that her's and Peter/Spidey's had. And begins to realise that she doesn't really love John. But is still in love with Peter. I love how Parker's theme wraps up the cue. The cue captures what MJ is feeling and thinking perfectly, imo.

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"Peter's Birthday" is the cue that plays where Peter comes to Aunt May's house after a rough day. And is thrown a surprise B-day party with Harry and MJ both attending. I love how Elfman used the MJ theme. He scores it like an old love that he still has passion for but can't show it b/c of his responsibility as Spider-man. It ends kind of dark and like the party has been pooped when Harry mentions Spider-man. Great cue that was also replaced in the film. :whatever:

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"The Bank/Saving May" Are two tracks that were edited together on album. With few micro edits. "The Bank" deals with (of course) Spidey's and Doc Ock's first encounter at the bank with Aunt May caught in the middle. I love how the track starts off. It's kind of like the music feels sorry and comforts Peter and May for their troubles, but soon gets menacing and over the top as Doc Ock's third theme (which is eight notes that reflects Ock's eight arms) plays and captures Ock's evil deed as he robs a bank. The whole cue is fun and action packed. I love it when the music builds as Spidey sneaks up behind Ock. Eventhough Ock knows someone's behind him. Then Ock begins throwing coins at Spidey (as he dodges them) with his tentacles. Both themes are competing with each other. It's great cue.

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That keeps getting better (as does the actual scene) when Ock kidnaps May and uses her as a hostage. In "Saving May" I love the music that builds up to Ock's theme (when the secretary or whatever looks for what's causing the noise that's going on outside and around the building) as his tentacles break through the brickwalls. The eight note theme (which is the tentacles theme) really goes crazy and over the top. Like a King Kong or 50s monster movie. The track is very chaotic that captures the chaos between Spidey's and Ock's fighting . I love the music that builds up when Spidey shoots webs and uses them to make him float at a long distance (Idk know what they call that) so he could stop Ock from killing May. The music was very powerful when Spidey saves May. The chorus in that part was epic. I love how Ock's theme plays as he escapes. It's almost like the music is capturing what Ock is thinking and feeling like "Next time Spider-man!". The music from after he lands with May and swings away. Was heroic and peaceful like May's is no longer in danger and Ock is gone for now. The last few seconds was probably one of the best exits (film and music) for a superhero ever, imo. The music reflects that Spidey got May's approval and he saved the day. Real awesome way to end the track and scene.

BTW, both tracks were edited on the album. The one above the paragraph above ("The Bank")and below this sentence ("Saving May"). Both videos are the full versions of both tracks.

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"The Mugging" (which is actually called "A Mugging" on Elfman's cue sheet. Yeah I know big difference.) is the track where a powerless Peter sees a guy getting beat down and mugged. But Peter chooses to walk away from his responsibility, b/c he thinks it's not his responsibilty anymore. Elfman mirrors that scene perfectly with his music and makes good use Parker's theme. It's tragic and dark b/c Peter made a tough choice that some may not have agreed with. Then it segues into May's theme. And captures Peters guilt and responsibility which is right in front of him in that scene. And the reason he became a crimefighter in the first place but no longer is. The music also captures the turmoil and guilt Peter feels for not telling May that Ben's death was his fault and he could've prevented it from happening. I love the way May's theme's written in this cue. Can't get enough of it. I also like how Parker's theme wraps up the cue. It plays to Peter's stepping up and telling May the truth about Ben's death. Elfman doesn't interfere with Peter's confession to May. Which was good b/c other composers would've wrote some sappy and cliche dramatic music. Which Elfman avoided. This track is actually two tracks in one on the album. The first 18 seconds is "A Mugging" the rest of it is "Spider-Gone" (scene after the mugging dealing with May and Pete) according to Elfman's cue sheet.

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The sceond half of the track on the album is "Peter's Turmoil" which was replaced by John Debney's not as impressive "Cake Girl" track in the film. Elfman's is definitely better b/c it really get's in Peter's head, struggles and of course turmoil. With his battle of trying to be normal and putting his responsibiltes as Spiderman behind him. But at the same time realises that he may have to sacrifice his responsibilities of having a normal life. It's a very sweet and touching track. It captures the cheering up Peter needed in that scene.t goes from sad to cheerful in less than two minutes. So I don't know why Raimi replaced it with Debney's cue. Which I didn't care much for to begin with.

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I'll also post the scene wth Elfman's original music which also includes "The Fire" scene as well since it takes place after that. I won't say much about what Elfman wrote for "The Fire" cue since it wasn't on the album. But I will say what was Raimi thinking using the music from the fire scene in the first film? Oh b/c they both deal with the hero going into a burning building. :whatever: Really out of place. And takes me completely out of the scene everytime.

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To be continued...
 
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Part 3
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"Doc Ock's Machine", (titled "Ock's Machine" on Elfman's cue sheet) starts off loud, sinister and menacing. I love the repeating banging sounds that beats about four times (I think). And then the tentacle theme goes crazy (which was dialed out in the film). Showing that Ock's machine is almost complete with only one loose end. The theme really goes all out in this track. I also love the tentacle theme segues into the Parker/Spidey theme. It reflects Harry's obsession with Spidey (with him staring at a collection of articles of Spider-man). The rest of the track was dialed out of the film. Showing the tension building of Harry feeling and hearing somthing approaching and we know it's Ock. Great track.

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He's Back" is probably the most epic track on the album. It starts off sad and a little dramatic. It reflects the guilt of Jameson who believes he drove Spider-man away. He also admits Spider-man was a hero and that he was wrong about him. The music really plays well to what Jameson is saying. The cue quickly changes tune as the suit gets taken back to his rightful owner, And as Jameson takes back what he said about Spiderman before. The cue gets better when Spidey swings through the newspaper article and through the camera. It really celebrates Spidey's return. As well as Peter's return to his responsibilities as Spider-man. But quickly interrupted by Ock's main theme. This is an amazing and action packed track that makes great use of Ock's main theme. It really captures the tension, excitement of two comic book icons duking it out. It feels like a real superhero fight when you listen to it. The scene is amazing itself. This is the full version of the track. Micro-edits were done on the album.

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"Train/Appreciation" is probably one of Elfman best action cues of his career. It's a real shame that it was replaced by Young's "Runaway Train" which isn't bad but ain't great either, imo. Elfman scores everything in the scene and not just the suspense on the train (like Young). The track shares similarities to "Revenge" , but it's not much. I love the way Elfman used the Spidey motif after he was knocked off the train and swings back on the train. It was probably the most powerful and triumphant use of theme in both movies and it has a lot of those moments in the both scores. Words cannot describe how epic that part sounded when I first heard it on the cd. Definitely better than Young's version on that part. Elfman really keeps up with the scene and the emotion. I'm not going to talk about 6 minutes and so of the track b/c I'll be up here all day. It that's great. I'll let you be the judge. I will say this those last two minutes are really something else. It's dramatic, touching, heroic, and really captures the heart of Spiderman and the film. Definitely should've stayed in the film, imho.

The first video is the track the "Train/Appreciation" track.

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The second video is Elfman's music with the actual scene. Though the first few seconds has snippets of "Saving May".

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The third video compares Elfman's and Young's cues with the footage back to back.

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"Aunt May Packs" which are actually two tracks ("Aunt May Packs"/"Aunt May Sells Spidey") is another great and very touching track. It really captures what May's speech and how it's affecting Peter. The music (or scene, imo) doesn't feel too preachy. It really sounds inspiring and encouraging as well as patriotic. I love the use of the acoustic guitars, I believe, in this track. Aunt May's theme is put to really good use in this track. I love the way Parker's theme comes in when May mentions Spiderman to him. It's a really great track. It should've been left in the film. Sadly Raimi used it for Sp3 when May was talking to Peter about marriage and her own marriage with Ben. Which didn't fit, imo. This track fits the scene perfectly. i guess Raim wanted "Alone" from Sp1, which is a sadder track for a scene that talks about heroes. I'll post the "Aunt May Packs" track as well as the scene with Elfman's original track. It'll also have the "Not Back Yet" track and scene playing right after it.

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"Armageddon" takes place after Ock was electrocuted and begins to take control of the tentacles. It's interesting how the music is when Spidey takes off his mask to reveal to Ock that's he's Peter. In order to get through to him to shut off his machine. The theme sounds like the Spider-man theme and Ock theme became one in that moment . I guess in a way to show that Spidey is trying get through to Ock. Very interesting.

I love the dramatic music where Spidey tries to get through to Ock with the same words May used to get through to Pete about sacrifice. The music is very touching and it left an impression on me in the film when I first saw it. I also love how the Parker theme plays as Ock makes the decision to stop the reactor. Peter and Ock both look at eachother knowing that a sacrifice will be made. Not just Ock sacrificing himself to stop the machine, but sacrificing his work for the greater good. In other's words to save lives. Very powerful.

The chorus that plays as Pete sees MJ staring at him without his mask. Very beautiful. It shows Peter accepting it and relieved by MJ finally knowing. The track keeps getting better and better as Ock's main theme gets sinister as he heads for his demise. While the MJ theme gets really sweet and romantic as Spidey and MJ say they love eachother in case they die as the building begins falling before them. The Ock theme gets more tragic and powerful as Ock sacrifices himself and saves NY. Then the Spider-man theme gets heroic as he saves MJ and swings away from the destruction of Ocks lair. Ending with Ock's theme playing to his demise. Brilliant track.

"A Really Big Web" is also paired with the "Armageddon" track on the album. "A Really Big Web" is a sad, touching and beautiful track that deals with Peter coming clean to MJ about why they can never be. It really captures the emotions of the characters at that moment. The MJ theme has matured more since the last film. It kind of reflects how far their relationship has gone since the first film. I love how epic, triumphant, and heroic the music was as Spidey takes off and leaves MJ for his responsibility (again). Eventhough she wants to be with Peter this time. Elfman nailed that scene perfectly. The scene wouldn't have been as dramatic without it, imo. The "Armageddon" track is edited on the video and album. " A Really Big Web" follows after just like the album.

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"The Goblin Returns'' of course is the track where Harry finds out his father was the Green Goblin. And might take up the mantle next. It's a great track that feels like a return of an old nemesis with bigger fish to fry. The track is edited badly on the album. It's funny that parts are on the album aren't in the film but replaced by music from the first film (bits of "Specter of the Goblin"). The parts where the new material from "The Goblin Returns" that made the film is edited out of the album. Weird. Anyways I'll post the full version along with the scene with Elfman's rejected music.

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Elfman's last track is "At Long Last, Love" which is actually called "Declared Love" on Elfman's cue sheet. What can I say about this track but that it's beautiful, happy, triumphant, epic, and heroic. You name it. Even the sort of dread MJ will feel while Peter is fighting crime and waiting for him to come home alive. I love how it play's the same the beat as 'Farewell" but just more peaceful and happy. Showing that MJ is ready to sacrifice everything to be with Peter. And that he no longer has to sacrifice their relationship to be Spider-man b/c she wants to take the risk with him. It's a really nice track. I love how epic and triumphant the final swing music is in this compared to the first. Both are good. I just like the difference in tone. I guess cause Spidey got the girl. And can finally accept the challenges and responsibilities that Peter Parker and Spidey have ahead of em. Eventhough MJ is a little bitter about it (letting his responsibilities as Spider-man control him and his decisions). Maybe I'm looking too much into it. Anyways cool way to end the score and film.

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To Be Concluded...
 
Part 4
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So in conclusion, you can probably tell (if you haven't already) that I'm a big fan of this score. To me it's one of my favorite Elfman scores. There's never a dull moment on the album. The dramatic cues are just as good as the action cues, imo. Which isn't an ionsult but a compliment. I like both of Elfman's Spidey scores equally. They compliment each other (as well as the films and PeterParker/Spider-man's universe) nicely. Apart of me wished he scored Sp3. But the way that film turned out. I'm kind of glad he didn't . Then again he has scored worse *cough*Terminator Salvation *cough*. I would've loved to have seen what he'd have came up with for Sandman, Venom, Dark Peter/Spider-man, and the New Goblin. Oh well. I really didn't find anything special about Young's score for Sp3. But anyways.

I was very impressed with Elfman's Doc Ock theme in the film and album. Back when I heard it in 2004 I held Ocks theme up there with Vader's theme. Still do. It really fit Ock like a glove, imo. Especially the eight note theme. I heard Ock's main theme was an homage to Frankenstein's theme from "Laurel & Hardy Meets Frankenstein" or "Abbott & Costello Meets Frankenstein" can't remember which. I don't know if I believe that b/c I think it's a variation on Parker's theme. Good example was the way the themes merged together when Peter took off his mask to reveal to Ock he was Spider-man. I always can't decide if it was Ocks theme Parker's theme. Then I came to the conclusion that the themes became one at that moment. It makes sense b/c Ock's is kind of a mentor an role model to Parker. And want's to live a similar life that Ock once did. Where he can balance his job with his love life.

I also think Doc Ock's theme is one of the best villain theme's, Elfman villain themes, and comic book villain themes ever. It owns Zimmer's one note Joker motif, imo. It really puts that theme to shame.

But I used to listen to Elfman's Sp2 score constantly back in 2004. I still do enjoy it. "Train/Appreciation" used to get a lot of playtime on my cd player. I used to pause bits and go back and study every piece of the cue. It was that amazing. I remember before YT that I actually tried to match the music with the actual scene, when I watched the dvd. With the music in my cd player as the movie plays on mute. LOL. I tried other cues from the album on their original scenes as well.

But this and Spider-man 1 are up there with the best superhero scores, imo. It's a shame that people really go down on Elfman and his Spider-man scores. They really don't deserve the hate and negativity they get from a lot of people (especially up here). Like I said before I guess it's all a matter of taste. But both of Elfman Spider-man scores are underrated and inspiring masterpieces, imo.

BTW, I'm happy that Elfman said in an interview back in June (in case anybody didn't know already) that he will be working on the score to Raimi's Oz prequel. Hopefully the Spider-man 2 incident will be a lesson for both and put behind them both finally.
 
In case any fans of Elfman are interested in his Real Steel score. It seems that the Real Steel soundtrack will have one Elfman track (which is also the last track of the album) on it. The rest are various artists.Pass. Not purchasing this for one track. The only reason this gneric looking movie had my interest was b/c of Elfman's scoring it. The movie looks like a bad Transformers knock off. And it's rare to see Hugh Jackman in a good movie. I'll probably check it out for Elfman's score. Which really isn't enough. Maybe The Avengers' trailer is the incentive I need to check it out.

http://filmmusicreporter.com/2011/09/13/real-steel-soundtrack-details/#more-5585

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i think the best music from Elfman's 89 score was the very beginning of the opening them. Those chilling first 5 notes, absolutely awesome.
 
Woah there EM.

I love Elfman's Spider-Man scores as much as you do...but young wrote awesome stuff for SM3.
 
Great review of the S-M2 score. It truly was an incredible score overall and the most memorable of superhero films, IMO. Hell, Elfman's work on SPider-Man is my favorite of any superhero franchise.
 
Severus_Snape said:
Woah there EM.

I love Elfman's Spider-Man scores as much as you do...but young wrote awesome stuff for SM3.
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I don't know about that sometimes I think I'm on my own when it comes to how much I appreciate and enjoy Elfman's Spider-man scores. But it's all good.

The problem (for me) with Young is that his music felt out of place in both films. Felt too much like horror ( especially Hellraiser) music most of the time. Elfman knows Raimi's Spiderman films, universe, and characters inside and out. He created the sound of the score for the Raimi franchise. His music (to me anyways) was just as important as the characters and really got inside Parker's head and emotions. Elfman's score was really the heart of those films. I really didn't feel that with Young's material that made the 3rd film. Young's score lacked something that Elfman's had, imo.

I really would've loved to have heard what Elfman would've came up with for 3rd film. It would've been interesting to hear what he came up with for the he evil Spiderman/Peter, New Goblin, Sandman, Venom, and the symbiote. Would he have written a new theme for evil Spiderman or do darker variation on the spiderman theme as well as the Parker theme? Plus a darker Spider-man would've gotten Elfman excited. A big missed opportunity.

I thought Young's Sp3 score was nothing really special. Even the "Birth of Sandman" cue (although a nice cue) was again nothing really special.And most of all predictable. I knew where it was going and when the chorus was going to come in. The track felt too much like an alternate Hellraiser track. I'm still curious about the cues that didn't make the film b/c I heard he wrote a new Uncle Ben theme, and a new Aunt May theme. At one point Young claimed that everybody on screen had a theme. But I don't hate Young's score. I just wasn't impressed by it. And thought it lacked a lot of things that Elfman's Spider-man scores had.


Spider-ManHero12 said:
Great review of the S-M2 score. It truly was an incredible score overall and the most memorable of superhero films, IMO. Hell, Elfman's work on SPider-Man is my favorite of any superhero franchise.
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Thanks I'm glad you enjoyed it. This score is obviously a favorite of mine from Elfman. Especially from the last decade. I still think it sucks that he didn't score the 3rd film. I think that could've stood side by side with the first two scores. It's hard for me to pick which scores better between Sp1 and Sp2. I enjoy them both equally. For example, it's kind of like LOTR it's really one big movie instead of three. That's the way I feel about Elfman's Spider-man scores. It's one big musical journey of Parker's life and adventures.
 
Elevator Man said:
In case any fans of Elfman are interested in his Real Steel score. It seems that the Real Steel soundtrack will have one Elfman track (which is also the last track of the album) on it. The rest are various artists.Pass. Not purchasing this for one track. The only reason this gneric looking movie had my interest was b/c of Elfman's scoring it. The movie looks like a bad Transformers knock off. And it's rare to see Hugh Jackman in a good movie. I'll probably check it out for Elfman's score. Which really isn't enough. Maybe The Avengers' trailer is the incentive I need to check it out.

http://filmmusicreporter.com/2011/09/13/real-steel-soundtrack-details/#more-5585

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http://www.varesesarabande.com/servlet/the-948/Real-Steel/Detail

I stand corrected. Now I just have to wait till November. :awesome:
 
Interviews with Elfman on his music for the Cirque Du Soleil: Iris world premiere.

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I'm happy this is getting a cd release. Though I hope it's available to every place that sells cds and not just the Kodak Theater and Amazon.
 
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Charlie & the Chocolate Factory brought Burton and Elfman back to familiar territory after getting out of their comfort zone for their POTA "re-imagining" and Big Fish. C&TCF is a very wild, quirky and wacky film just like it's main character. Played perfectly by Depp, imo. Back in 2005 I ranked it as the best movie of that summer. Eventhough I haven't (still haven't) seen every movie that summer. Batman Begins was the other movie I saw that summer in theaters. Though I'm a big Batman fan. I was very disappointed by it. Anyways C&TCF is a very entertaining and fun family movie. I still like it. It even has some things over the 1971 original. The film doesn't deserve any of the negativity it gets. RT even shows an 82% approval rating from critics as I type this. I guess the film was too much for people. Or to some it's blasphemous to remake the 71' original. And therefore hate on it. Oh well.

Elfman's score is very quirky, dark, and over the top, but also touching in some parts. Probably his most wacky score for a Burton movie of the last decade (that is). The score has a lot going for it and is really a lot of fun. Elfman even got to write songs (well lyrics for one song). But he got to use Roald Dahl's lyrics to compose songs for four of the naughty kids. He even performed the vocals for the Oompa Loompas whenever they sang.

"Wonka's Welcome Song" is a very demented and catchy song. That fit's Depp's Wonka perfectly. It's so annoying (in a good way) how catchy it is that you can't get it out of your head. It was put to perfect use for Wonka's introduction (at the factory) in the film.

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"Augustus Gloop" is another catchy song that was a good way to kick off the songs for the kids. It has a really nice beat. Elfman's vocals are funny and performed to great effect.

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"Violet Beauregarde" is a cool and hip song. Probably the coolest song in the movie, imo. It starts off very similar to Elfman's "Factory" track from Forbidden Zone. Elfman said he was going fora blaxploitation sound like something out of Shaft. I think he suceeded b/c this song is very funky.

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The other two songs are catchy and a lot of fun in a bizarre way. But I want to talk more about the score.

The "Main Titles" is very wacky and wicked. The chorus sounds demented. It feels like a rollercaster ride to insanity. Maybe it's a ride to Wonka's insanity. Eventhough the music is playing to images of Wonka's factory making chocaolate bars with golden tickets being placed inside and shipped to many candy stores across the world. It's probably Elfman's most wackiest and eerie main titles music for Burton. On a side note the last 45 seconds of it introduces Charlie's theme (as the film does the character) and closes the quirky titles on a touching and very innocent note.

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'Wonka's First Shop" starts off very beautifully as Grandpa Joe flashes back to Wonka's first candy store. Wonka's theme really captures his eccentricity well at the beginning of the track . As the track concludes it's very celebratory, triumphant, and a little gothic. In honor of Wonka opening his factory.

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"Wheels In Motion" is a very amusing track. That opens with Charlie's theme which plays very hopeful. That someday he'll meet Wonka and will maybe open his factory again someday. The music gets maniacal as the Wonka theme plays while the Oompa Loompas post bulletins about 5 golden tickets placed in Wonka bars around the world. And blah blah blah. I like how the music captures the insanity of the customers waiting for candy stores to open in different parts of the world. To buy the Wonka bars just for the golden tickets that might be inside. Elfman gives each country and city a different style of music. While capturing whats happening on screen at the same time.

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"Charlie's Birthday Bar" is a very moving (and almost heart breaking) track. It really captures Charlie's hopes ( as well as the audiences hopes for him) to receive a golden ticket with his Wonka bar. It also captures Charlies heart and what that character is all about. When he shares his candy with his family. Instead of whining and crying about not having the ticket. And being selfish about it and just eat his candy alone. He puts others before himself and share it with his family. Kind of like celebrating his birthday with a Wonka bar instead of a birthday cake. The cue really captures Charlie's pure heart.

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"First candy" is a very erratic track that flashs back during Wonka's childhood. When he ate candy for the first time. And goes into his obsession with candy. Very quirky track.

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"Up and Out" is another goofy but fun track that captures Wonka's insanity as his flying elevator takes off in the air and heads to Charlie's house. As they head to Charlie's home. We are shown the aftermath of what happened to the other kids who didn't listen to Wonka. And therefore paid the price of losing to Charlie of being Wonka's heir. The music captures the children and parents' humility very well. The music as Charlie, Grandpa Joe and Wonka between those scenes feel very innocent and peaceful. Can't really describe it.

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"Finale" is a very touching cue that reunites Wonka and his estranged dentist father. Thanks to Charlie. It becomes more stirring as Wonka and Charlie have dinner with his (Charlie's) family. Now that Wonka and Charlie are business partners. They talk about their ideas for different kinds of candy during the family dinner. And they all live happily ever after in Wonka's factory. Elfman nails every moment of that scene.

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Overall the whole score is magnificent. Every track is worth mentioning but I'd be up here all day if I did. C&TCF's score is dark, quirky, goofy, wild, moving, and a whole lot of fun, imo. It might be too much for some. Maybe even annoying b/c of how hyper and wild it is. But it's another great Burton /Elfman score, imo.

The songs are awesome. Sure the songs aren't as iconic as the "Pure Imagination" song from the original. But they're not as repetitive as the Oompa Loompa songs from the 71' film either. Elfman's Oompa Loompa songs are very different from each other. It never becomes repetitive or dull. Plus it makes great use of Dahl's lyrics.

I can't think of anything I dislike about this score. I think it fit's Burton's take on Wonka like a glove and is near perfect. An underrated gem. One of the best scores of 2005, imo. And deserves more attention from others.
 
Here's the artwork for the Real Steel score album. Including tracklisting. Can't wait to hear this score.

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Speaking of Real Steel. Just got back from the movie. Eventhough I was dreading to see it. Even to hear what Elfman came up with for it . I actually thought it was pretty good and better than I expected it to be. It's a very entertaining and fun movie nothing more. Definitely prefer this over Bay's Transformers movies (eventhough I stilll haven't seen TDOTM). I recommend it to those who want to have a fun time. Definitely not as bad as the trailers look.

Elfman's score was used well in the film. Better than I expected. I thought it was going to be mostly Hip Hop/Rap/Techno music (though there was plenty) hogging the soundtrack from Elfman. Turns out there was plenty of Elfman music in the film. He even got to score the final round in the movie. Which really added an emotional punch (pun intended) in the end. The score reminds me a bit of "The Kingdom" in some parts but that's not a complaint. B/c I'm one of the few fans of that score. Atom's theme is very catchy and used well whenever used. It's a theme (for those who care about humming a theme after they watch a movie) you can actually hum. I can't wait to pick up the score on it's release. A very solid score from Elfman.
 
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Tim Burton's Corpse Bride was the second film Tim Burton directed (was also co-directed by MIke Johnson) in 2005. It was often compared to TNB4C. Which I think isn't fair. Both are two different movies, universes, and stories. I thought the movie was good. Eventhough I heven't seen the movie since '06' but I remember enjoying it. I find it to be quite underrated and forgotten. Eventhough it was nominated for Best Animated Movie in '06'. I don't hear much talk about it. The animation is of course stunning. The cast are all great. With a tragic and touching story with a lot of heart, imo.

Anyways Elfman's score to TBCB also gets compared to his own TNB4C score. Once again they're two different scores. TNB4C is more of a musical. It has 10 songs with themes based on them used throughout the score. While TBCB has 4 songs and with none of the themes based on them throughout the score. Except Elfman's unreleased song "Erased" which finally got released on the Elfman/Burton Box earlier this year. I'll get more into that ("Erased" song I mean) later. His TBCB score is a lot more tragic, touching, and dramatic than his "Nightmare" score. It's also jazzy and very Victorian-esque. The score goes through many different moods and emotions.

There are 4 songs on the album but, I'll talk about two of them. "Remains of the Day" easily the best song on the album. As well as the best scene in the movie, imho. The reason why b/c Danny Elfman himself sung it and wrote it. (Some of the lyrics were co-written by the writer John August). Elfman also voices the cool character (Bonejangles), who performs the song in the film, throughtout the film. Bonejangles is also (of cousre) just made of bones like Jack Skellington. Bonejangles was also my favorite character in the movie. And I wouldn't mind seeing a spinoff movie with just him and his band playing songs in the afterlife. It was amazing hearing Elfman perform this song on the big screen. A real treat. It was also amazing to hear it on the album. I still love it. The song is very jazzy and fun. And tells the Corpse Bride's origins. I can tell Elfman had a lot of fun on this song. Eventhough it kind of messed with his throat b/c of his tone of voice for the character (according to him on an interview on the dvd). I rank this song right up there with his best "Nightmare" songs. It should've been nominated for an oscar for best original song. It would've been awesome (and mindblowing, imo) to see Elfman performed it on stage at the Oscars. I'm posting two videos of this song. One with the actual scene and one with just the song. It's really that good.

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"The Wedding Song" is a very celebratory song. B/c Victor decides to marry Emily (Corpse Bride) and bringing pretty much everybody from the afterlife to the real world to have their wedding. It's Elfman's wedding version of "Making Christmas" (from his TNB4C score). I love the "Huzzah!" bit in ghis track. I get chills everytime. Elfman also did his own thing with the "Here Comes The Bride" bit. A very fun, pleasant and happy song. Im posting two different videos for the same reasons as before.

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The other two songs are great as well and work in their particular scenes. But I want to get to the score. "Main Titles" which plays the main theme is very touching, sad, and kind of magical at the same time. It's not as dark, quirky, or wacky as Elfman's other main titles for Burton. It even tugs the heartstrings a little.

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"Victor's Piano Solo" is a piano version of the main theme. It really captures what Victor's feeling as he's playing the piano. I've heard some say he might've of been influenced by Beethoven's "Moonlight Sonata" at the beginning of the cue. I'm not familiar with that piece. But I've heard that both pieces start off kind of similar. A homage? But "Victor's Piano Solo" is a very nice piece. It starts off tragic then becomes powerful and triumphant before it's abrupt ending. It felt like it was building up to something before it got cut off. Still a wonderful piece of music.

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"Into the Forest" starts off sad and lonely. The music captures Victor's frustrations with being a groom. It also captures the atmosphere of the forest to after in which Victor failed to recite his wedding vows correctly and causing a ruckus at the wedding rehearsal. So he wanders off into the woods and begins reciting his vows and perfoming his groom duties correctly. The main theme becomes victorious as this happens. Then the music becomes haunting and intense after Victor puts the ring on what looked like a branch but turns out to be the Corpse Bride's/Emily's hand. As Victor runs away from Emily as she stalks him the music gets scary and more threatening. Really capturing Victor's fear of this ghost/zombie and waht she might do to him. When really she just wants to be aquainted with her groom (which is in this case Victor) and not harm him. The cue has a range of emotions.

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"Moon Dance" is nothing but beautiful. It really captures Emily's beauty and emotions. As well as her freedom from the afterlife. She's enjoying her new life and second chance at marriage with someone (Victor) she thinks loves her but actually doesn't. Although short cue it's another highlight on the album.

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'Victoria's Escape" is another dark cue. That plays with the theme used from "Into the Forest" which is probably the corpse bride theme. It follows Victoria (who Victor is supposed to marry but was then taken back to the afterlife when Emily found out he was trying to reunite with Victoria to escape from her) sneaking out of her home after being held captive by her very demanding and strict parents. It also takes place after she saw Victor get taken back to the afterlife. So she then escapes and goes to the church to tell the Father (who happens to be the priest who marries her and Victor) about this ghost that took Victor. But the Father thinks she's full of it and sends her back to her parents. Funny scene. The music really builds up into something as she gets closer and closer to the church. I just love the use of that haunting theme.

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"The Piano Duet" is another beautiful piece done on piano as Victor tries to reaquaint with Emily after breaking her heart. He then starts to become attracted to Emily after this duet. I really like the use of the "Tears To Shed" ( 1 of the 4 songs on the album which this one deals with Emily's heartbreak after Victor deceived her) theme and the main theme in this piece as both themes begin to bond as the two begin to themselves.

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"New Arrival" is just a short, fun, and jazzy piece that's got a lot of swing to it. It plays as a new arrival comes to the afterlife. I posted this track b/c you don't get to hear Elfman write this type of music often. It's a real treat.

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"The Party Arrives" is another dark and fun track. That's goes with a similar approach to "Into The Forest" as the dead come to the real world to have Victor ansd Emily's wedding. As the dead arrive the humans run for their lives thinking they're in danger. Soon they realise they're only their loved ones who have long passed. The living and the dead then get reaquainted.It's a fun and spooky (as the humans run away from the dead) track that gets touching and peaceful ( as the dead reunite with their living loved ones) and concludes kind of woeful as the wedding begins.

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"Victor's Wedding" is a very heartbreaking track. B/c Emily's been waiting for this moment (to get married) all of her life and even died b/c of it. This is a happy moment for both her and Victor as he exchanges vows. She sees Victoria outside the window heartbroken. Instead of being selfish and stealing someone elses groom just b/c she wants to get married so badly. She calls off the wedding. So Victor and Victoria can be together instead. Elfman really captures all the things I've just described with his music in this scene. It's really sweet and a very touching track, imo. That plays the main theme very sorrowful.

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"The Finale", "End Credits Part 1 and 2", and the 4 bonus tracks of source music performed by Bonejangles and his bone boys (which are a lot of fun) are all great. But I'll wrap it up.

I do like to mention one more track. I mentioned it before a couple posts back. This track was never released. Until it finally was on the Elfman/Burton Box. It's called "Erased". It has lyrics to the main theme. And was never used in the film, Elfman's demo of the song was posted on YT. It's really touching and really captures Victors feelings and isolation from the real world.And him accepting his place in the afterlife. I assume this took place when he was trapped in the afterlife. nd found out from the new arrival that Victoria married someone else b/c of her strict parents. It's performed well by Elfman. I think the song is also worthy of an oscar nomnation for best original song. The funny thing is Depp would've perfomed it b/c Victor's the one singing it. But it got cut at the last minute. They never were able to record it with Depp. Bummer. It would've been interesting to hear pre-Sweeney Depp perform this. This definitely would make a great addition to the score. It also shows why Victor wanted to marry Emily. So it adds more to the story. TPTB should've kept it in. I believe "Erased" goes right up their with "Sally's Song" (from TNB4C), imo. It's really that good.

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But I think Elfman's TBCB score is great. Very well written. It doesn't feel like a rehash of his "Nightmare" score. In fact, it's kind of underrated b/c people tend to bash the songs b/c they thinks it's not as good as his "Nightmare" songs. I disagree. I think the songs and score is right up there with "Nightmare's". I also think the score was robbed of an Oscar nomination for best original score. But I think it's another underappreciated score from Elfman in the last decade. That deserves more appreciation.
 
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In 2006, Elfman scored two movies. He was originally going to score one movie (Charlotte's Web) which some claimed he backed out of Spiderman 3 to score this instead. :whatever: If you've read my Spider-man 2 score cd analysis. Then you know why he backed out of Spider-man 3. But anyways he also wrote a replacement score for the silly Jack Black spanish wrestling indie comedy Nacho Libre directed by the guy who directed "Napoleon Dynamite". That score also had some issues when they decided to bring back Beck's (the original composer) original music in some scenes. Causing Elfman to remove his name from the credits so he wouldn't get any credit for the Beck tracks. The cues Elfman wrote (that made the film) were credited during the end credits. Nacho Libre only got a soundtrack release with one Elfman track. But hopefully someday an official cd release will see the light of day.

Back to Charlotte's Web. The film directed by the late Gary Winick and starring a young Dakota Fanning. With an all star cast performing voices for the farm animals. Everyone from Oprah, Julia Roberts, Cedric the Entertainer, Robert Redford, Steve Buscemi,etc. The trailers looked too silly and cheesy for my tastes. But the movie was actually decent and definitely something the kids and the whole family would enjoy. I don't know how it stacks up to the original animated movie of the same name. Since I haven't seen that since I was little. But I thought it (2006 film) was pretty good for a family movie.

Elfman's score is also great, but for some reason I don't listen to this very often. I don't know why. B/c it's a great score. It's just I don't have a desire to listen to it often. When I do listen to it however I enjoy it very much. It's not a dull score despite what haters will say about it. I guess it's one of those scores I have to be in the mood for. I do think the score might be underrated (even by me). The score is in the same vein as Big Fish, Sommersby with hints of Black Beauty. Which makes since b/c each takes place in a southern setting. And one of the films deals with an animal as main character just as Charlotte's Web does.

The "Main Title" is a very brisk and upbeat cue that's very celebratory and captures the southern atmosphere in the film. It almost feels like it's celebrating Wilbur's birth in the beginning. Kind of setting it up (with the music) during the titles as well as setting up the tone of the film. Which Elfman tends to do with most of his main titles to his scores.

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"Lullaby/Escape" are two tracks put into one. "Lullaby" is, what else, a lullaby that's performed by Dakota Fanning herself. When she sings Wilbur to sleep. The lyrics are by Elfman. It plays the main theme (Idk if it's Wibur's or Charlotte's or maybe both) which also sounds very similar to Elfman's Corpse Bride main theme. It's a very amiable track. "Escape" deals with Wilbur trying to escape the farm as Fanning's character leaves for school. It's very playful and really captures Wilbur's actions as it's trying to escape. Both great cues.


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"The Plan Begins" which is easily the best track on the album for me at least. It's also a cue that you would expect from Elfman in a good way. It begins with another recurring theme or motif. And now that I think of it that could be Wilbur's theme or one of his themes. It even plays towards the end of the "Main Title" cue. This cue plays when Charlotte creates the letters (with her webbing) that reads "Some Pig". It starts off slow and then gets busy (as Charlotte does in this scene) as the main theme kicks in and builds and builds and builds. It becomes magical as the chorus comes in. Signifying what Charlotte's doing is magical. Afterall being able to create words with webbing is pretty amazing for an actual spider to do. The last few seconds of the cue really captures that "end of hard days work" feel that Charlotte must be feeling. And ending it with that southern sound really signifies the next morning or day has begun. It's a very inspirational track kind of showing that you can do anything once you put your mind to it. That's what I got from it anyway.

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"The Word Spreads" is the track that I guess takes place with the family who owns the farm reacting to the "Some Pig" webbing and telling some of the town's people about it. I've only had a real good look at the movie once. The reason I posted this track b/c of how calm, pleasant and comfortable it is. It really captures the tone and mood of the town reacting to the webbing. The main theme is very peaceful and at ease as well.

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"Humble" is another touching and magical track with Charlotte webbing her next word "Humble". It's another track showing Elfman's craftsmanship. This track goes through different moods from touching, to playful, to gentle, to magical, to modest, and back to magical again. It's why I enjoy Elfman's music.

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There were three more tracks I wanted to post. But I couldn't find 'em on YT. I guess they either got blocked, deleted, or whoever didn't post 'em.

'Terrific" is another track that starts off busy as the family finds Charlotte's last webbing word "terrific". It's another restrained and happy track that ends magical but sad b/c this is Charlotte's final web. At the same time Charlotte's also pregnant and dying. So it ends on a sad note.

"Farewell Charlotte" is a very emotional and touching track that deals with Wilbur saying goodbye to Charlotte as she dies. Elfman really makes me feel sympathy (with his music) for a spider (which ain't easy to do) especially for what she did for Wilbur to keep him alive. What's sad is that after saving Wilbur from becoming a holiday dinner she dies shortly after. Not being able to relish what she did. It really tugs the heartstrings, imo. I wish I could post this track. It's really good and very, very touching.

The last track by Elfman "Wilbur's homecoming" is a nice 8 minute track . That wraps up the score and film perfectly. If only I could find this track on YT b/c I can't describe how excellent this track really is. The best way I can describe it is that the same amount of emotion, energy, and effort Elfman put in for "Finale" to Big Fish. Is about the same amount of emotion, effort, and energy he put in for"Wilbur's Homecoming". I'm not saying he ripped off his Big Fish track "Finale". I'm just saying "Wilbur's Homecoming"almost rivals "Finale" from BF.

There were some other tracks that I didn't post that were great as well. But I don't want to drag this out. So overall Charlotte's Web is another great score by Elfman that even I overlook at times. So yeah I think it's quite underrated. Some might get turned off by how peachy, pleasant, and upbeat it is. But if you like Elfman's Sommersby, Black Beauty, and Big Fish scores. You should be able to enjoy this. You don't get to hear that side of Elfman that often. It might be one of those scores where you might have to be in the mood for. But it does put you in a good mood after you finish listening to it. At least for me anyway.
 
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Meet the Robinsons is 1 of 2 scores Elfman wrote in 2007. Which is the fifth straight kid/family movie Elfman scored in the last decade. This is also the second movie straight where Elfman scores a movie where one of the main character's name is Wilbur. Meet the Robinsons is an animated movie that deals with a young boy (Lewis) being taken to the future by a young stranger in a time machine. And he then meets the Robinsons. The plot gets more complicated especially as to why he was sent to the future and his connnection with the Robinsons. It's similar to the the first two Back to the Future movies in plot. The movie is very entertaining and the animation is first rate.

I thought Elfman's score worked well in the film. However the albuim is another story. The first half of the album are songs. The rest is Elfman's score. Close to 30 minutes of score I believe. Plus two bonus songs one of them performed by the Jonas Bros. The album overall is okay. And only one song stood out for me ("The Future Has Arrived").


I found Elfman's score, although decent, was nothing special. In fact kind of a let down. One of the themes is very similar to the corpse bride main theme. It almost felt like it was copy and pasted from the Corpse Bride score. Lewis' theme is similar to one of his themes from Elfman's Charlotte's Web score. Also I don't think the score was represented well on the album. It could've used a few more tracks. Despite all of that the score has it's moments.

"The Future Has Arrived" performed by The All-American Rejects and written by Danny Elfman, Nick Wheeler, and Tyson Ritter. I like this song not only b/c Elfman had a hand in it but the song actually has a purpose being made other money. It matches the film perfectly. Part of it's b/c the song uses one of Elfman's themes in the film as the music. The lyrics carry over from that theme. The best song on the album, imo. This is coming from someone who isn't familiar with The All-American Rejects.

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"To The Future" is the song "The Future Has Arrived" is taken from. This cue is something that you'd expect from Elfman. Though not a bad thing. Easily the best cue on the album. It's very quirky, in the vein of his "The Simpsons" and "Mars Attacks" writing. It's also very compatible to the tone and style of the future in this movie. It's even very reminiscent to "The Jetsons" theme, which makes sense regarding the film.

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"Pop Quiz And the Time Machine Montage" is another quirky track that's typical of Elfman, but a lot of fun if anything else. Again very similar to his "Mars Attacks' style. But it really fits the tone of the scene well. It also makes good use of the "To The Future " theme.

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"Doris Has Her Day" is a dark and adventurous cue. That really shows the heroic side of Lewis' theme. As Lewis fights to save his family and stops Goob's or his device Doris (I believe. I've only seen the movie once) from taking over the future and the Robinsons. Checkout the nod to Don Davis' Sentinel motif from the Matrix trilogy at 2:36 -2:41. :awesome: Or it could also be a nod to Alex North's music. But I think the actual scene had a sequence similar to the sentinels sequence in the Matrix movies. But I'm not sure of that, though.

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"Setting Things Right" is a moving and warm track. That has Wilbur going back in the past looking for his real mother. As well as reuniting with the Robinsons. Elfman uses Lewis' theme with great effect. As well as the chorus. That pleasantly wraps up the score. And the easter egg at the end was cool too. And even in keeping with the film's message.

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Overall I thought the score was decent but could've been better. The score really didn't show a side of Elfman that we haven't heard already. It's too familiar. The score really didn't push Elfman like it should've. Parts of the score felt like leftovers of his Corpse Bride and Charlotte's Web score. The cd also poorly represents the score. The cd could've used another 15 -20 minutes of Elfman's music. I could've done without the songs (excluding "The Future Has Arrived") which were nothing special, imo. Probably one of the few Elfman scores I'm not big fan of. Although it does has it moments.
 
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