Batman '89 The Danny Elfman Appreciation Thread

[mongoose-mania]

Elfman is scoring Hitchcock!?! As if I needed another reason to see this movie! I'll be first in line!!

 

[DaRkVeNgeanCe]

Hithcock is going to be amazing, I cant wait to see it.

 

[Elevator Man]

Two videos on Elfman's Frankenweenie. One is just bits of the scoring sessions. The other is a short interview with Elfman on the score.

http://filmmusicreporter.com/2012/09/22/frankenweenie-scoring-sessions/#more-12889

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From what I've heard of the music on that scoring sessions video it sounds like it's going to be more "touching" and "heartwarming" than I thought with some dark elements, of course. The dramatic music reminds me of some of the tender bits of "Big Fish" and especially "C&TCF", which I'm not complaining about at all. I smell or hear another winner for Elfman.

 

[Pfeiffer-Pfan]

Wow... this score does sound amazing. Really excited for it now.

 

[mongoose-mania]

Bought the Frankenweenie score today. I can't say I'm totally satisfied with it, unfortunately. The two main themes throughout the score sound way too much like Batman and Big Fish, respectively. It definitely isn't a bad score by any stretch of the imagination, but it isn't as thrilling or different as I hoped it would be. Maybe I just need to warm up on it a bit. But it definitely didn't grab me the first time like Dark Shadows or MIB3 did.

 

[Elevator Man]

I've been hearing negative reactions from some Elfman fans about his Frankenweenie score. As well as people complaining that the theme is similar to his Batman theme only short a few notes, but I'm still excited about the score. I'll do like I always do wait to see the movie first before purchasing the score. I plan on getting it anyway, but I like to see how it works in the context of the film first.

I got to be honest about Elfman's Dark Shadows. It didn't really grab me on first listen though I still enjoyed the score. Most of Elfman's scores,imho, tend to take repeated listenings to truly appreciate and grasp the magic in 'em.

 

[Pfeiffer-Pfan]

Dark Shadows has been growing on me slowly... I think I need to see the film again so that I can start putting sound to images and get a stronger connection.

 

[Elevator Man]

Saw "Frankenweenie" this afternoon. Though it wasn't a masterpiece I thought it was pretty good. Way better than Burton's "Alice In Wonderland" and "Dark Shadows" that's for sure. Being in B&W and filmed in stop motion didn't take away from it either. It made it more unique than the usual CG animated films released today. I just wish some of the characters were more fleshed out mainly Victor's classmates and the Van Helsings. They seem like interesting characters, but underdeveloped. Also the third act felt a little rushed. It also lacked more satisfying ending, imo. I think it would've added more closure showing how the aftermath of Sparky and the other undead pets impacted the town and it's people. There wasn't a clear message (other than the obvious)it was trying make. I enjoyed the movie but again I think it lacks something that Burton's best films have. I just can't put my finger on what it is though.

I enjoyed Elfman's score in the film. It added a lot of heart to it. Haters are going to dislike it b/c the score is typical for a Burton film. It has all the ingredients, which isn't a bad thing, imo. I thought it worked. It lets everybody know that this is a "Tim Burton" movie. Sparky's theme is a very touching and warm theme even. He doesn't turn the theme dark and scary once it comes back to life. It's in the vain of his Charlie theme (from C&TCF), Lewis' theme (from Meet the Robinsons), some of the lush moments in Edward Scissorhands ,Big Fish, and Charlotte's Web (2006). You can hear various styles from different scores of Burton's films in it. It isn't a bad thing b/c again it's Elfman's specific sound for Burton. And this film is very typical of Burton everything to the animation and story. I don't think the score is a rehash of his other scores like the way Meet the Robinsons felt, imo. He's just exploring and expanding more ideas in a style he's familiar with. I like what I heard and after I left the theater I went to Best Buy and purchased the score album.

So I enjoyed the film and can't wait to listen to the cd.

 

[Project862006]

i love elfman's wolfman theme very haunting

 

[mongoose-mania]

After seeing Frankenweenie, I have to say Elfman's score has grown on me. When I left the theatre, Victor and Sparky's themes were stuck in my head all night, and I often find myself listening to the score more regularly. So far, I think my favorite Elfman score of this year is Dark Shadows, but that's only because I haven't actually listen to MIB3 yet, and Hitchcock won't be released til next year. But I'm very excited to hear what Elfman will do with that one.

 

[DaRkVeNgeanCe]

I really enjoyed what Elfman did for Frankenweenie, though sounding very similar to other past work, it was perfect for the film and very classic Burton.

 

[Elevator Man]

Since the beginning of this month I've been having a sort of "Horror Fest" of film scores by various film composers (at least the ones I own anyway b/c I don't own all of 'em) that deal with horror, suspense, monsters, etc. In the order of the film's release date.

The one's of Elfman that I've already listened to...

Beetlejuice

What else needs to be said that hasn't been said already about this amazing score. And gotta love the "iconic" Beetlejuice theme. Which better be used in the planned sequel, which tbh I hope doesn't get made. Just leave it alone. The last thing I want is this unnecessary sequel to taint this great film.

Tim Burton's The Nightmare Before Christmas

Another masterpiece (both film and score) that I can't praise enough. It's also another score where Elfman was robbed of at least an oscar nomination, imo. Elfman IS Jack Skellington. Listening to the songs dealing with Jack ("Jack's Lament", "Jack's Obsession", "Poor Jack") I can tell Elfman really connected with that character probably more than any character(s) he's ever written music for. The song demos are also a treat.

Sleepy Hollow

Again another masterpiece from Elfman to an underrated and underappreciated Burton film, imho. This score is at times gloomy, gothic, whimsical, tender, frightening, bombastic, rich, and haunting. The headless horseman theme is very striking and menacing. Again another score that deserves all the praise that it gets.

Red Dragon

Another masterpiece by Elfman that I believe is underappreciated by many. The movie also turned ten this month on the 4th. Elfman does not hold back on the darkness and suspense with this score, imo. Nothing whimsical, elegant, heroic, or quirky about it either. And who doesn't enjoy the haunting and melancholic "Main Titles" to this. The Red Dragon theme is creepy, sadistic, and chilling (especially in tracks "Logos", "The Old Mansion", "Enter The Dragon", "Love on a Couch", "Devouring the Dragon") The "End Credits Suite" is probably one of my favorite end credits music by Elfman. I wish he'd write longer end credits music like that more often. That's something he rarely does these days, which is a shame. But Elfman was unrestrained and really got to let loose his dark side with this one, imo.


What's left (for the Elfman score's anyway) "Tim Burton's Corpse Bride", "The Wolfman (2010)", "Dark Shadows (2012)", "Frankenweenie (2012)", which I still have yet to hear outside the film. Though I have the cd.

 

[Elevator Man]

The tracklisting for the upcoming "Silver Linings Playbook" soundtrack are up and is now available for pre-order on Amazon. The soundtrack, which will be released November 19, features two Elfman tracks ("Silver Lining Titles" and "Walking Home") which I'm surprised was even included. I wasn't expecting them to release any Elfman music period. I kind of figured this is the kind of movie that's carried by songs and little score. I'm still curious of what Elfman came up with for this, but won't be purchasing this album just for two Elfman tracks.

http://filmmusicreporter.com/2012/10/18/silver-linings-playbook-soundtrack-details/

 

[ddddeeee]

After seeing Frankenweenie, I have to say Elfman's score has grown on me. When I left the theatre, Victor and Sparky's themes were stuck in my head all night, and I often find myself listening to the score more regularly. So far, I think my favorite Elfman score of this year is Dark Shadows, but that's only because I haven't actually listen to MIB3 yet, and Hitchcock won't be released til next year. But I'm very excited to hear what Elfman will do with that one.

Elfman's Hitchcock score is being released next month.

I thought Frankenweenie, both film and score, was fantastic. Re-Animation is a stunner.

 

[Elevator Man]

Listened to Frankenweenie this evening and I found it to be a lot of fun. I can tell Elfman enjoyed scoring this. The tracks that caught my attention were "Game Of Death", "The Funeral", "Electricity", "Re-animation", "Sparky's Day Out", "Getting Ready", "Making Monsters", "Pool Monsters Attack", "Mad Monster Party", "Final Confrontation", and "Happy Ending".

Upon first listen I think I heard three different themes/motifs. One of 'em (which is the main theme) is a playful and pleasant theme that captures the bond and companionship between Victor and Sparky. The main theme shares some similarities with Elfman's theme for Charlie in C&TCF and Lewis' theme in Meet the Robinsons.

The second theme or motif (which I believe is Victor's emotional theme) b/c it plays to Victor's loss of Sparky. As well as his feelings of losing Sparky. It's melancholic but touching.

The third theme or motif is a murky and somber theme for the havoc caused by the other undead pets brought back to life by the other kids. It's also a theme that represents the madness, risk, and danger of bringing back something from the dead, imo. The theme does share some resemblance of Elfman's own Batman theme, but it doesn't bother me b/c I don't feel it's a direct ripoff.

I love the use of the organ in some of the tracks. Really adds a gothic and macabre mood to the score. Frankenweenie's score is very much in Elfman's comfort zone as the film itself is for Burton. Some of the orchestrations and instrumentations harken back to some of Elfman's past scores to Burton films. It isn't a bad thing b/c it works. Afterall Frankenweenie has all of the elements you'd expect from a Tim Burton movie (excluding Depp and Bonham Carter, of course). The score adds a lot of heart and even tugs the heartstrings at times. I enjoyed the score overall.

 

[Elevator Man]

Interesting Elfman interview by The Hollywood Reporter. He talked about his scores for "Silver Linings Playbook", "Hitchcock", "Promised Land", and even "Oz:The Great and Powerful".

Some interesting tidbits about Hitchcock and Oz.

THR: You imagined yourself into composer Bernard Herrmann's head for Gus Van Sant's Psycho remake. What was it like to score Hitchcock?

Elfman: The main thing I wanted to know from Sacha was that he didn't want to do a Herrmann-esque score, a mock Psycho. The story is a romance between Alfred and Alma Hitchcock. It's a fairly romantic score, and it gets a little darker where Hitchcock is in the world of Ed Gein [the killer who inspired Psycho], talking to him. I found myself occasionally doing Herrmann-esque things, but not intentionally. He's so much part of my DNA, there's moments where yeah, there's a bit of an homage there, but it's just me.

THR: Do you have a "funny" button on your console?

Elfman: I wish. On Oz just yesterday, I was playing some music for [director] Sam Raimi and he was laughing out loud. And what I did that was so funny in this particular moment was a pause. What's usually funny in music is timing. When I'm making Sam laugh effectively, which I've been doing quite a bit of this week, it's because I'm finding the timing of a scene, putting in accents and pauses in very specific moments. It's funny without trying to be.

THR: Music is a combination of repetitive pattern and surprise, and sometimes the best sound is silence.

Elfman: Absolutely correct. Where something starts or ends is a very big thing. There's a lot of music in Oz, about 115 minutes, but I'm having a great time because the music's all very narrative, and I really could go on almost a hypnotic trance and just pour music out in a way I really enjoy. I'm really telling the story with music, I've got a number of themes blocked out, and it's flowing really easily.

Wow 115 min of music! Looks like the score is going to carry this film. Now I'm officially excited for this score. I love when Elfman has an opportunity to write a lot of music to tell the narrative. And nice to hear Raimi is enjoying what Elfman's coming up with so far for Oz. I'm so glad those two are working together again. They make a great team. Hopefully there won't be any problems this time.

The rest of the article :http://www.hollywoodreporter.com/news/danny-elfman-my-constant-worry-382170

 

[Elevator Man]

Another interview. Some things Elfman mentioned I already know but it's a decent enough interview.

http://www.billboard.biz/bbbiz/indu...alks-tim-burton-simpsons-and-1007991872.story

 

[Elevator Man]

Cover art has been revealed for Elfman's "Hitchcock" score.

It'll be released December 4 and is already available for pre-order at Amazon. The tracklisting is also up. It contains 27 tracks. Lovely! I like what I'm seeing from the tracklisting e.g. "Logos", "Theme from Hitchcock", "End Credit #1", and "End Credit #2". Looks like Elfman wrote plenty of music. I won't be surprised if this is the complete score or the majority of it. Definitely excited for this release and can't wait to pick it, but I'll have to wait to see the film first. Most of the time I like to see the movie first and hear the music in the context of it. So I hope it's great.

I find it funny and interesting that "Hitchcock" is Elfman's fourth Hopkins film he scored. The other three "Instinct", "Red Dragon", and "The Wolfman (2010)".

 

[theman]

sleepy hollow was a huge hit when it came out and is considered one of his best, how is it underappreciated?

i do agree thats one of elfmans greatest atmospheric scores. i own it!

 

[Elevator Man]

I knew some might disagree. That's why I made sure I typed "imho" after posted that, but I've never heard anyone consider SH his best work. The point I was making was the movie doesn't get enough praise, imo (no matter what forum I visit). That's why I believe it to be underrated and underappreciated. I actually consider it a classic as well.

 

[Elevator Man]

Elfman's third score from 2010 was for Paul Haggis' underrated "The Next Three Days". The movie is about how far a husband (Russell Crowe) is willing to go to get his wife (Elisabeth Banks) out of jail for a crime he doesn't believe she committed. Crowe gives a touching and strong performance. That helps me understand his situation and why he's risking everything to free his wife. I enjoy the movie though it's at times depressing. By the end of the movie it does have me questioning myself whether I would go to such lengths as John Brennan (Crowe's character) did to get somebody I love and care about away from prison. The rest of the cast gave believable performances as well. I think it's a great movie that should've gotten more attention. I guess that what when you open the same weekend a Harry Potter movie opens. Out of the movies Elfman scored that year TN3D was definitely the best movie. What's funny from the trailers I was expecting a typical action thriller, but I felt I got more than that coming out of the theatre.


Elfman wrote a touching and melancholic driven score. It's not really a melodic score, though it has different motifs for the Brennan and his inner conflict. It's a textural score that captures the complexities of the John's situations in the film, imo. The score is able to fulfill the psychology, burden, guilt and turmoil of John Brennan and how far he's willing to go to save someone he loves. Elfman does a superb job emphasising the consequences of some of John's actions that causes him to break the law. This score isn't a typical Danny Elfman score. Don't expect a gothic, quirky, bizarre, whimsical, and heroic score. This is a very mature score dealing with the realistic subject matter in the score it shouldn't be surprising that Elfman would write something out of his comfort zone.


A few tracks about why I feel Elfman's score is riveting and gripping in the film and cd...


Starting with the first track "Prologue" which opens the movie, of course. It begins very somber and tense as the scene itself. Though in the movie you don't really know what's going on. Except that it's night and you can hear gunfire and a car tire screeching on the road. As well as what sounds like a dying man grunting and crying for a hospital in the backseat of the car. Then we see Crowe's character (John) is the one driving the car. He turns to the victim, which is unseen, as he stops breathing and dies. The track really nails John's grim situation. I feel the cue is asking me "how did John end up here? Let's go back to how it lead to this moment". Then it takes the audience back three years ago before his wife was arrested. At 0:47 one of the recurring motifs is introduced. To me that's basically John Brennan's emotional theme. It really nails his guilt of this situation and many other's through out the film and score.


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“A Way In”, which takes place in the middle of the film, opens very enchanting and serene. As John plans and plans his wife’s escape. And tries to find "a way in" a van. He starts following and observing a med health lab van. The reason he’s following the van b/c it has blood work information on inmates. He times how long it takes the driver to deliver the deliveries at a stop from and back to the van. Then later John looks on the internet to find ways to break in vehicles without causing any damage. The music gets a little intense and apprehensive as the next day or so John breaks in the van. The reason for the tension in the music is that he has less than two minutes to find what he’s looking for before the driver returns. We find out that John is looking for blood work info on his wife, who’s diabetic. He takes a photo of the info with his cell phone. Then leaves the van in the nick of time. That info will be crucial to his plan later in the film. I like this track b/c it captures John’s determination of putting together a flawless plan for his wife’s escape. This cue does a masterful job accentuating how much John immerses himself into his plan.


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“What She’s Lost” is a short, but moving, track that plays another recurring theme or motif (which was featured in the beginning of the “Prologue” track) that signifies John’s and his son Luke’s loss which is time without Lara (Elisabeth Banks). It even captures Lara’s emotional pain of being locked up and away from her family for so long and possibly for life. Especially for a crime that she claims she didn’t commit though the evidence proves otherwise. I guess that could be considered John’s emotional theme or the Brennan family emotional theme. The piano gives it a very woeful feeling. This cues takes place in the film as the story takes place a few months or maybe even a year after Lara was locked up. The cue begins as Lara’s being searched for hidden weapons and such after a visit from her family. She watches hopelessly as John and Luke are leaving through the blinds. Then it shows John watching his son at the playground, who doesn’t seem happy or wanting to play for obvious reasons. I like this track b/c that theme gives a sense of loss. Throught this motif I can only imagine what John must feel, which is wanting to desperately do something about getting Lara out of prison, but certain laws are limiting him from doing so.


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“Don Quixote” takes place in a classroom as John is teaching his students about “The Life & Times Of Don Quixote” and what it’s really about. He brings up “virtue”, “rational thought”, and “reality”. Thats when John decides to take the path that he will go to help his wife escape prison. It begins very solemn with the piano. Then musically shows how reflective (as the scene itself does) the message of Don Quixote is to John’s own predicament. I like how the music (at 0:52) again captures John resolution to figuring out a way to free his wife as he searches for prison books in a library. He later comes across a book by a escaped convict (played by Liam Neeson in a cameo), who escaped prison seven times. John sets up an interview to meet him. That piece that plays at 0:52 is another recurring motif that plays as John is setting his plans in motion. I like to call it John’s determination theme, where he decides to take action. I like this track b/c this is where John decides to take matters into his own hands since his other legal attempts of freeing his wife have failed. Therefore he’s taking a path where there won't be any turning back from. No matter the cost.


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“All Is Lost” which is a track title Elfman used for “Terminator Salvation”, opens very sorrowful. It takes place after John finds out from his attorney that Lara is never getting out b/c of what the evidence shows. So John visits Lara to break the heartbreaking news. As Lara approaches the visiting phone booth she already knows that her case was thrown out again by just looking at John’s emotional face. It’s a very depressing moment. John’s emotional theme capitalizes John’s turmoil of not being able to do anything legally to free his wife. Listening to this track I can imagine Lara’s conflict and frustration of being isolated from her family for the rest of her life in a prison cell. I can’t help but feel sorry for both John and Lara in that moment. When the piano kicks in (as John visits his relatives to give them the terrible news) the music feels a little confident as John tries to take his mind off of it by spending time with his relatives. As well as when John reads Lara’s letter to his son. I found the track very emotional and stirring that even tugs the heart strings, imo.


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“Last Three Months” feels very pressing as time’s running out, but at the same time it feels casual for the character. As it’s kind of a normal thing for him to visit his wife and later planning her escape. He takes photos, observe surveillance cameras and security, etc. I love the use of the electric guitars in it. The guitar riffs are sort of reminiscent of Elfman’s underrated “The Kingdom” guitar riffs. I like that I can hear the motif (John’s determination motif) used here as it was used when John was searching for information at the library (“Don Quixote”) . Though it’s more subtlety used here. Again b/c John’s putting his plan together. The track closes cautiously as it approaches night and as John tries to get illegal passports from the wrong kind of people.


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“A Warning” begins very tense and uneasy as John leaves the facility that’s holding his wife. The reason why b/c he almost got caught for using a bump key to open one of the doors. It got botched once the bump key broke as John tried to turn it. Afterwards every visitor was questioned including John. He was then sent off with a warning. John then rushes to the exit and begins vomiting at a corner. The cop that arrested his wife happens to walk pass him and starts being suspicious of John. The officer begins investigating John. The taut music opening the cue explores John's guilt. John’s emotional theme gets very heart wrenching and dejected as his personal life seems to crumble around him. The music gives me the sense of the sacrifice John is making to continue pursuing his plan of freeing his wife. It’s a frustrating time for John b/c there’s a key missing in his plan. I feel with music at that moment that things may not be looking good for him financially and personally, but it won’t discourage from saving his wife. I like how hopeful the track concludes as John refuses to give up no matter the conflicts he’s ran into. He just has to find “the key” “to make his plan come together.


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“Breakout” is a propulsive and adrenaline pumping track. That takes place as John breaks Lara out. This eight minute or so track captures the dangers, thrills, and intensity of this scene. I love the use of some of the recurring motifs that I’ve mentioned earlier making appearances. This track feels like a cat and mouse game between Mr. and Mrs Brennan and the police. It’s very suspenseful and has me on edge every time. It’s very well executed both the scene and cue. Elfman really heightens the tension as the track nears it’s conclusion. Listening to this (as well as looking at the actual scene) you can feel John’s plan coming together. If you like the action music in Elfman's Wanted you’ll enjoy this track. It’s up there with some of Elfman’s best action cues, imo.


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“The Truth” is easily the best track on the album, imho. I also believe it’s one of the best cues of 2010. It’s very effective in the actual scene. I don’t want to get too much into the scene itself. I’ll just say the cop that arrested Lara starts piecing together the murder she was arrested for in his head. And comes to his conclusion what he believes happened. The piano and especially the vocals (by Ayana Haviv) are very moving. For a score that’s full of melancholy it’s nice to have a peaceful, pleasant, and gratifying track like this. “The Truth” definitely isn’t something I’d expect from Elfman. I’d place this cue right up there with Elfman’s “Finale” from "The Kingdom". That probably isn’t saying much for some b/c that score is hated by many except me. In 2010 many have praised the cue that played at end of "Inception", which was Hans Zimmer’s “Time”. That’s a nice track and all but this track is my “Time”. The way people praise and gush all over “Time” is how feel about this particular cue. I place this up there with some of Elfman's best cues.


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I think Elfman’s The Next Three Days is an underrated gem. One of the most underrated scores of 2010, imo. I also find the film very underrated. I’m glad Haggis took a risk with Elfman. I heard he and his regular collaborator Mark Isham had a falling out, which I’m not commending. Alberto Iglesias was then set to score it but then got rejected I believe. I might be wrong but I remember IMDb had him credited as composer before Elfman came on board. I'm very pleased with what Elfman brought to the film. Can't imagine this film without his score. This film allowed Elfman to get out of his comfort zone. I bet a lot of people didn’t know he wrote the music to this movie. Let alone heard of the movie itself. This score proves just like “The Kingdom“ and “Taking Woodstock” did that Elfman can do more than write for gothic, dark, and spooky fantasy movies and superhero movies. It’s a shame this score didn’t get the attention “The Wolfman (2010)” and “Alice In Wonderland (2010)” got that year. I recommend the film and score to anyone. I thinks it attributes a lot to the film emotionally. I hope Haggis and Elfman team up on future projects. I believe both made a great and unique team.

 

[Elevator Man]

Looks like Sony Classical will release a score album for "Silver Linings Playbook", but it'll be a digital release only. It'll be available digitally on November 16, but is already available for pre-order on Amazon.

I don't want to sound picky, but as much I would love to purchase this and am thankful they decided to release any of the music no matter how. I'd much prefer a physical cd release. So I won't be buying this unless Sony releases a physical copy of it on disc. Doubtful I know, but as an Elfman fan it pains to say that.

http://filmmusicreporter.com/2012/11/10/silver-linings-playbook-score-album-details/#more-13856

 

[mongoose-mania]

I've yet to see Silver Linings Playbook, but the only real reason I would is for the score. Also, I read a remark from someone on a Danny Elfman fansite who basically said the score for Hitchcock was good, not great. The fact that Elfman is actually NOT doing something Herrmann-esque is interesting to me, and I'm still really excited to hear it.

 

[mongoose-mania]

I just got back from seeing Hitchcock. The movie was really great, and Danny Elfman's score was very nice. It wasn't anything spectacular, but it was a nice small orchestra, and really reminded me of his earlier scores. Maybe I wasn't paying too much attention, but I really can't remember that much score going on through this movie; it was very quiet. But what I did notice was very light and very enjoyable.

 

[Elevator Man]

Yeah the score on the album is about 38 min long.