Batman '89 The Danny Elfman Appreciation Thread

[Elevator Man]

Congrats to Elfman on his HMMA (Hollywood Music in Media Award) nomination for "Mr. Peabody and Sherman" in the "Original Score for an Animated Film" category.

Original Score: Animated Film

Danny Elfman – Mr. Peabody and Sherman
Dario Marianelli – The Boxtrolls
Gustavo Santaolalla – The Book of Life
John Powell – How To Train Your Dragon 2
Kristian Sensini – Rocks in My Pockets
Mark Mothersbaugh – The Lego Movie

http://filmmusicreporter.com/2014/1...-media-awards-nominations-announced/#comments

 

[Elevator Man]

Elfman's So-Lo is getting a reissue from Varese Sarabande 11/24.

“The Missing Oingo Boingo Album”

So-Lo is the only solo album by Danny Elfman and was originally released in 1984. It was performed by members of Oingo Boingo, but deliberately not released under the Oingo Boingo name in order to circumvent a dispute with the band's record label. Elfman stated that he used the opportunity to release material that would not be suitable for an actual Oingo Boingo album, moving away from the band's ska origins and more towards mainstream synthpop. He described it as "chance to experiment with slower tempos", with no intention of beginning a solo career.

Features the bonus track the original mix of “Gratitude,” which was only released as a single and as part of the Beverly Hills Cop soundtrack.

The album has been out of print on CD for more than 10 years.

In recent years Elfman has found enormous success as a composer for such films as Batman, Charlie and The Chocolate Factory, Dark Shadows, Planet of The Apes and Spider Man.


Track List:
1. Gratitude
2. Cool City
3. Go Away
4. Sucker For Mystery
5. It Only Makes Me Laugh
6. The Last Time
7. Tough As Nails
8. Lightning
9. Everybody Needs

Bonus Track:
10. Gratitude (single edit) (4:08)
MCA single 52560, 1984
Remixed By Mark Kamins And Jay Burnett
Special version of the song from the Beverly Hills Cop soundtrack

Performers:
Danny Elfman: vocals, percussion, programming
Steve Bartek: guitars, programming
Rich Gibbs: synthesizers, special DX-7 programming
Paul Fox: synthesizers
Kerry Hatch: Bass
Johnny "Vatos" Hernandez: drums, percussion
Leon Schneiderman: baritone sax
Sam Phipps: tenor sax
Dale Turner: trumpet, trombone

http://www.varesesarabande.com/servlet/the-1202/Danny-Elfman-cln--So-Lo/Detail

Not sure I want to double dip on this one especially for a single bonus track, which is a remix anyway. Also of note I bought the original MCA CD of So-Lo at my local Barnes & Noble about six years ago. So it hasn't "been OOP for more than 10 years" (in some places anyway) as is stated above, but I'm happy for those who'll get another opportunity to own So-Lo on CD that haven't before with a reasonable price.

 

[Elevator Man]

AV Club conducted a new lengthy Elfman interview, which was posted today. He talked about a couple of Oingo Boingo songs ("Capitalism", "Little Girls", "Gratitude", "Weird Science"), Pee Wee's Big Adventure, Wisdom, Midnight Run, Batman '89', Edward Scissorhands, Nightmare Before Christmas, Spider-Man 2, Mr Peabody & Sherman, Beetlejuice 2, etc.

Here's what he said about B89 and Prince:

DE: That was the hardest leap. From Pee-Wee’s Big Adventure to Beetlejuice was still well into the silly, quirky zone. Batman came along, and nobody wanted me on the film. So that proved to be the great trial of my career, because the studio and the producer—nobody wanted me. Tim did, but nobody else did, and then there was a point where I was asked to collaborate on a score with Prince, and I refused, and I had to leave the project for a short period of time. That was brutal for me while I went off and let Prince do his thing, because I just knew the collaboration wasn’t going to work.

First off, I’m not a collaborative person, and secondly, I just had a feeling it didn’t make sense. As much as I admired his work, I didn’t want it to be that kind of score. I felt it should be an orchestral score, not a pop score. So I had to kind of sit that one out. Then I got recalled in and really had to prove myself, because it was nothing but skeptics. So even after close to 100 films, that still goes down as the hardest experience in my life, because I had to go through a period of time where I felt like I had just thrown away the best opportunity of my career by being stubborn.

I had a pretty big, stubborn streak, and I was just not willing to make that compromise. The fact that it paid off is kind of a fairy-tale story in my career, and I probably had a lot more chances of that not having a pleasant ending for me. In hindsight, I’m still surprised that I made that decision and stuck with it at that point in my career. I did, and I’m glad I did. But I go back and think, “I must have really been kind of ****ing insane back then.”

AVC: Did you ever at least talk to Prince?

DE: No.

AVC: You didn’t even take a meeting with him?

DE: It wasn’t about taking a meeting. This was all the producer’s idea. I don’t think Prince really wanted to collaborate with me either, as far as I knew. This was the wishful thinking of Jon Peters, the producer, and maybe Warner Bros. So it was just the way it came down. No, I never did really speak with him. I just knew what the score really should be and held out for that.

It’s one of my funny stories, because instead of being in a car when the title music hit me, I was on a 747 flying back from London, and all I was thinking was, “I don’t have the ability to pick up a napkin and write music.” I’ve never taken music lessons. I can write, but I need a keyboard and some kind of reference to write. And I didn’t have a keyboard. Now I try to travel with a little equipment, and if it ever came up again, I could grab my little mini-computer and play these parts. But at that point, I had nothing—certainly not a laptop. All I had was this little Sony tape recorder, so I kept running into the bathroom and laying down track after track after track, hoping that they would later mean something. I was thinking melody, counter-melodies, rhythms, all this stuff separately, and I kept getting more ideas and running back.

I couldn’t do it at my seat, because I didn’t want to sing into my tape recorder with this guy sitting next to me. And it got to the point where I’d open the bathroom door and there’d be two flight attendants standing there saying, “Sir, are you all right?” And I’d go, “Yeah, yeah, yeah, I’m fine.” I’d go back to my seat and be back in the bathroom 10 minutes later, and this time there are three flight attendants. And clearly they’re looking at me as some sort of hopped-up junkie who’s just shooting up every 10 or 15 minutes. I’m sure they didn’t know what was going on. I didn’t appear to be sick or throwing up or green around the gills. If anything, I was excited.

But also the bathrooms were incredibly noisy, so when I got home to my studio—as I had feared—the plane erased the entire piece of music from my mind. Because they played landing music, and I think it was something like “Yesterday” by the Beatles, and it was a total memory eraser. I came off the plane and all I could think of was “Yesterday,” and I’m like, “What happened to the Batman theme? [Sings.] ‘All my troubles seemed so far away…’ ****! I’m screwed!” And I turn on the tape recorder, and I have about 30 minutes of notes on there—and all I’m hearing is loud engine noise. I finally heard little bits of myself coming through it, and I could catch a little bit of a “bum bum-bum-bum bum” and I’d go, “There’s a bit of the rhythm, okay, I got that.” And finally it all came back to me and I was able to write it down. But I was really relieved, because it almost is the exact main title to Batman.

AVC: So the Beatles almost ruined the Batman theme?

DE: Almost ruined the Batman theme. That would have made me crazy, after all that work, to lose it! Who knows, it might have come back to me in the middle of the night, but it would have caused me some serious distress. But I always knew I’d get caught one day not having the ability to hear pitch in your head and know what that pitch is and write from the air without a reference. But of course, I don’t have any of that in my background. I was like, what would I give to have just a couple of years of music school.

About the possibility of Beetlejuice 2...

AVC: Speaking of, have you been approached about Beetlejuice 2? Has he talked to you about that?

DE: No, other than the fact that I just heard about the possibility of it.

AVC: I assume you’d like to come back for that.

DE: Well, I never like to assume anything. It has to become a reality first. I think I might have mentioned it to Tim, and he kind of gave a little look or nod or shrug and was like, “We’ll see.” In my world, nothing is done till it’s done. It’s like, “Well, that’ll be interesting if it happens.”

On Spider-Man 2 and the Raimi fallout/reunion...

DE: [Spider-Man] 2? Really?

AVC: Spider-Man 2 is where you ran into issues with Sam Raimi, correct?

DE: Well, I don’t like to get into negative stuff too much. I’ve had falling outs with people through my life. Tim and I had one, and we finally ended up getting back together and working it out after Nightmare Before Christmas. Sam and I had it on Spider-Man 2. I just felt like, for various reasons, I wasn’t able to get communication from him. It seemed to be coming through messages, and he wasn’t involving himself personally. I was starting to feel disconnected from the project in a weird way, and I started to get frustrated. Spider-Man 2 was an incredibly frustrating project, and I just said, “That’s it.” When I reach a certain point and I feel like it’s not creative for me, I just don’t want to do it—even if it’s lucrative.

But Oz [The Great And Powerful], when we got back together again, was the opposite extreme. I can think of very few projects that went as smoothly and easily. We just sailed through it. I think people just hit periods and points where **** happens. And I reach a certain point where I get very frustrated and not able to move in one direction or another directly with a director, and I feel kind of disconnected, and stuff is coming from other places. It makes me want to disconnect. I’ll kind of go anywhere with a director if it’s what the director wants and I’m with them, and we’re kind of like, “Let’s try this” or, “Let’s go the opposite direction.” But if I feel like it’s coming from other places, I start to dig in.

So it was just a thing that he went through and I went through, and we ended up getting back together at dinner and talked about it. And at that point, he asked me to do a remake of Spider-Man, which he was slated to do, and I said, “Yes, I’ll do it!” And the next week they canceled. That’s when they basically ended that part of the franchise to redo it with The Amazing Spider-Man. And he just popped back up and said, “Forget Spider-Man! Let’s do Oz.” And I said, “Let’s do Oz. Great.”

On being associated with the superhero genre...

AVC: You’ve done the themes for four superheroes: Batman, Spider-Man, Hulk, and The Flash. Do you find it weird that you became the superhero guy?

DE: I think a lot of us go through periods of our career where we start going into genres, and we start getting called into that. So it’s kind of amusing. At the time, I didn’t think too much about it one way or another. I was happy to be working, like all composers. I wasn’t going to complain. Because I was also getting other kinds of films, so it wasn’t frustrating. And even superhero films like The Hulk with Ang Lee—that was so weird that I didn’t feel like I was even in that genre.

AVC: It does seems weird to come from these avant-garde, cabaret beginnings—from something like Forbidden Zone—to being one of the go-to guys for superheroes. Though I suppose all of those particular superheroes have an outcast side.

DE: There’s an outcast side. And also, along with the hero is the antihero, and therein lies the fun writing.

You can check out the rest of it here... http://www.avclub.com/article/danny-elfman-oingo-boingo-film-scores-and-beatles--210856

I thought this was better than the usual Elfman interviews. I'm glad the interviewer brought up his more obscure scores like Wisdom and Midnight Run. Wish they would've brought up Nightbreed, Good Will Hunting, Red Dragon, Desperate Housewives, The Kingdom, S.O.P, Hellboy II, Notorious, Terminator Salvation (which I still like to know why he signed on to that rubbish sequel), Real Steel, MIB Trilogy, The Unknown Known, and the upcoming Big Eyes and 50 Shades Of Gray b/c aside from the Burton movies he doesn't get asked much about his other scores.

 

[Elevator Man]

Elfman's "Mr. Peabody & Sherman" lost to John Powell's HTTYD2 in the animated film original score category of the Hollywood Music in Media Awards, which took place on Tuesday 11/04.

http://www.hmmawards.org/hmma-winners/

 

[Elevator Man]

Another interview. Most of it is already well known (e.g. his transition from being in a theatre troupe that turned into a rock band and taking on scoring Pee Wee's Big Adventure, as well as writing The Simpsons theme, while overcoming a previous feud with the show's creator). But at 9:21 he talks about how it was like for him in the film music community being a film composer without any classical training or degree and how he was believed to be a "hummer" for 15 years, which I've also read about.

[YT]X26YUS04Pa0[/YT]

 

[Elevator Man]

Check this out:

Going on sale next Tuesday, December 2, 2014 at 12 pm pst

BIG TOP PEE-WEE: LIMITED EDITION LLLCD 1334
Music by Danny Elfman

Limited Edition of 2500 Units

RETAIL PRICE: $19.98

La-La Land Records, Paramount Pictures and Sony Music Entertainment proudly present the remastered and expanded re-issue of acclaimed composer Danny Elfman’s (BIG EYES, BATMAN RETURNS, BATMAN, PEE-WEE’S BIG ADVENTURE) original score to Paramount Pictures’ 1988 follow-up to the classic PEE-WEE’S BIG ADVENTURE, BIG TOP PEE-WEE, starring Paul Reubens, Penelope Ann Miller and Kris Kristofferson, and directed by Randall Kleiser. Composer Elfman re-unites with Paul Reubens to bring Pee-wee to life in exciting new environment -- a bold circus milieu. Exciting, charming and beautiful all at once, the score marks an important chapter in the evolution of Elfman’s astounding career. Produced for La-La Land Records by Dan Goldwasser, Produced for Sony Music Entertainment by Didier C. Deutsch and remastered by Noah Scot Synder this expanded release is limited to 2500 units and features exclusive, in-depth liner notes from writer Tim Greiving, showcasing an all-new interview comments from the film’s star, co-producer and co-writer, Paul Reubens, director Randall Kleiser and orchestrator Steve Bartek. Big top art design comes courtesy of Dan Goldwasser.

TRACK LISTING:

1. Paramount Fanfare*/Main Title 1:32
2. The Girl on the Flying Trapeze 2:04
Performed by Pee-wee Herman
3. Pee-wee Flies/Happy House/Pee-wee Herman Had a Farm 1:41
“Old MacDonald Had a Farm” – Traditional, arr. Steve Bartek
Performed by Pee-wee Herman and Vance the Pig
4. Rise ’n Shine** 2:59
5. The Greenhouse/Date Book #1, 2 & 3* [contains material not used in
film] 1:01
6. Sneaky Walk/Race to School 1:04
7. Paparazzi* [unused]/Winnie’s Hair*/Mud* [unused]/Race to the Store* 0:53
8. The Big Storm 1:42
9. After the Storm*/Pee-wee to the Rescue/Lion Problems 1:52
10. Where’s Midge?/Lion Tag* 0:32
11. Circus Parade 0:57
12. Sad Drive Home 1:16
13. Circus in the House 1:20
14. Zsa Zsa*/Happy Circus 1:31
15. Zsa Zsa’s Delight/Pee-wee’s Inspiration*/Hot Dog Tree*
[unused]/Mace’s Inspiration*/Pee-wee’s Flower* 1:38
16. Elephant Ride 1:02
17. Idyll* 0:47
18. Clouds* [contains material not used in film] 1:06
19. The Big Kiss* (film version) [contains material not used in film] 2:31
20. Rejection 0:46
21. Mace’s Speech/Busy Circus*/Square Dance* 2:30
22. Man to Man/Psycho Winnie 1:20
23. Winnie and the Italians* 0:34
24. Rimprovero 1:04
Performed by Pee-wee Herman
Traditional, arr. Steve Bartek
25. I Llove You 0:33
26. Pee-wee Tries/Elephant*/Pee-wee Tries Again/Town Spies 3:34
27. The Side Show 1:28
28. Pee-wee’s Love Theme 2:42
29. Shrinking Weenies*/Big Top* 0:52
30. Angry Mob/The Show’s Off*/Idea* 1:12
31. Transformation 1:08
32. Big Top Finale 3:22
Performed by Pee-wee Herman and The Big Top Company
Lyrics by Paul Reubens, George McGrath and Randal Kleiser
33. Pee-wee’s Big Surprise 2:25
includes “Tequila” by Chuck Rio; published by Careers BMG Music
Publishing, Inc. (BMI) / EMI Longitude Music Co. (BMI)
34.End Credits 3:02

BONUS TRACKS
35. Idyll (alternate) 0:45
36. The Big Kiss (album version) 2:31
37. Big Top Finale (instrumental) 3:24
38. Pee-wee’s Big Surprise (alternate) 2:27
39. The Girl on the Flying Trapeze (instrumental) 2:07

TOTAL ALBUM TIME: 65:15
* previously unreleased
** contains previously unreleased material

And for those who miss it the last time...

And last, but not least...

Going on sale next Tuesday, December 2, 2014 at 12 pm pst

THE DANNY ELFMAN BATMAN COLLECTION: BATMAN / BATMAN RETURNS: LIMITED EDITION (4-CD SET) LLLC 1327

Limited Edition of 3000 Units

RETAIL PRICE: $49.98

In honor of Batman’s 75th Anniversary, La-La Land Records, Warner Bros. and WEA proudly present THE DANNY ELFMAN BATMAN COLLECTION: BATMAN / BATMAN RETURNS: LIMITED EDITION (4-CD SET). Batman swoops back into La-La Land with this thrilling re-issue of our previously out-of-print deluxe editions of Danny Elfman’s classic, original scores to the Tim Burton-directed BATMAN (1989) and BATMAN RETURNS (1992), presented together for the first time! While the programs presented on these discs are the same as found on our acclaimed initial releases, BATMAN (1989) has been overseen by producer Neil S. Bulk and newly remastered by James Nelson from recently unearthed score elements, resulting in better sound quality. (BATMAN RETURNS is the same master as our previous release.) Produced by Neil S. Bulk, Dan Goldwasser and MV Gerhard, this special release of 3000 units features gorgeous, completely re-designed packaging by Jim Titus. The 48-page booklet carries over the liner notes from our previous editions. The populace of Gotham would agree – this is one knockout presentation of two iconic scores from a legendary Dynamic Duo in its own right… Tim Burton and Danny Elfman!

TRACK LISTING:

BATMAN
Disc 1
ORIGINAL SCORE FILM VERSION:

1 Main Title* 2:42
2 Family*/First Batman*/Roof Fight* 3:24
3 Jack Vs. Eckhardt* 1:37
4 Up Building*/Card Snap* 1:54
5 Bat Zone*/Axis Set-Up* 1:55
6 Shootout* 5:42
7 Dinner Transition*/Kitchen Dinner*•/Surgery* 3:00
8 Face–Off*•/Beddy Bye* 3:59
9 Roasted Dude* 1:03
10 Vicki Spies (Flowers)* 1:56
11 Clown Attack* 1:59
12 Photos*/Beautiful Dreamer*† 2:30
13 Men at Work* 0:33
14 Paper Spin*/Alicia’s Mask* 0:30
15 Vicki Gets a Gift* 1:13
16 Alicia’s Unmasking* 1:10
17 Batman to the Rescue*/ Batmobile Charge*/Street Fight* 4:25
18 Descent Into Mystery* 1:33
19 Bat Cave*/Paper Throw* 2:48
20 The Joker’s Poem* 0:59
21 Sad Pictures* 0:38
22 Dream*/Challenge*/Tender Bat Cave*• 4:28
23 Charge of the Batmobile* 1:43
24 Joker Flies to Gotham (unused)*/Batwing I* 0:31
25 Batwing II*/Batwing III* 6:02
26 Cathedral Chase* 5:07
27 Waltz to the Death* 3:58
28 Showdown I*/Showdown II* 5:05
29 Finale*• 1:47
30 End Credits* 1:29
Total Time Disc 1: 75:40

Disc 2
ORIGINAL SOUNDTRACK (REMASTERED):

1 The Batman Theme 2:37
2 Roof Fight 1:22
3 First Confrontation 4:43
4 Kitchen/Surgery/Face–Off• 3:09
5 Flowers 1:51
6 Clown Attack 1:46
7 Batman to the Rescue 3:57
8 Roasted Dude 1:02
9 Photos/Beautiful Dreamer† 2:31
10 Descent Into Mystery 1:33
11 The Bat Cave 2:35
12 The Joker’s Poem 0:59
13 Childhood Remembered 2:43
14 Love Theme• 1:30
15 Charge of the Batmobile 1:41
16 Attack of the Batwing 4:45
17 Up the Cathedral 5:05
18 Waltz to the Deat* 3:56
19 The Final Confrontation 3:48
20 Finale•† 1:46
21 Batman Theme Reprise 1:31

BONUS CUES
22 News Theme* :11
23 Joker’s Commercial* 1:23
24 Joker’s Muzak (unused)* 1:15
25 Main Title (alternate 1)* 2:42
26 Photos*/Beautiful Dreamer (alt)*• 2:33
27 Batman to the Rescue (original ending)* :52
28 Charge of the Batmobile (film edit)* 1:47
29 Main Title (alternate 2)* 2:47
Total Time Disc 2: 68:20
ALBUM TOTAL TIME: 144:00
* Previously Unreleased
• Includes “Scandalous” composed by Prince with John L. Nelson
† Includes “Beautiful Dreamer” composed by Stephen Foster
All tracks published by Warner-Barham Music LLC except where noted
• Published by Controversy Music – Warner Olive Music LLC. † Published by Minder Music, Ltd.

BATMAN RETURNS
Disc 3
THE SCORE:
1 Birt* of a Penguin/ Main Title 5:38
2 Penguin Spies* 1:09
3 Shadow of Doom*/Clown Attack*/Introducing the Bat• 5:01
4 Intro*/The Zoo•/The Lair 6:00
5 Caught in the Act*/Uh-O* Max* 1:58
6 Kitty Party*/Selina Transforms• 5:30
7 Penguin’s Grand Deed* 1:50
8 The List Begins* :45
9 The Cemetery 2:56
10 Catwoman Saves Joan*/The New Woman* 2:03
11 Penguin’s Surprise 1:43
12 Bad, Bad Dog•/ Batman vs. Circus/ Selina’s Shopping Spree• 5:42
13 Cat Chase• 2:12
14 Candidate Cobblepot* :58
15 The Plan*/Kidnapping* 2:32
16 Sore Spots/Batman’s Closet* 3:22
17 The Plot Unfolds* 1:15
18 Roof Top Encounters• 4:49
19 Batman’s Wild Ride• 4:19
20 Fall from Grace• 4:17
21 Revealed*/Party Crasher* 3:18
Total Time Disc 3: 68:08

Disc 4
THE SCORE (cont’d)
1 Umbrella Source/ The Children’s Hour/War• 7:53
2 Final Confrontation•/Finale 9:15
3 A Shadow of Doubt•/ End Credits• 6:15
4 Face to Face 4:18
Performed by Siouxsie and the Banshees

ALTERNATE AND ALBUM CUES:

5 The Zoo (alternate)• 1:00
6 The List Begins (alternate)* :45
7 Cat Chase (alternate ending)• 2:13
8 Roof Top Encounters (original)• 4:49
9 Fall from Grace (alternate ending)• 4:17
10 The Lair, Part I :57
11 The Lair, Part II 4:51
12 Selina Transforms, Part I 1:12
13 Selina Transforms, Part II 4:15
14 Batman vs. The Circus 2:35
15 Cat Suite 5:43
16 A Shadow of Doubt (alternate)•/End Credits (alternate) 7:02

BONUS TRACK:
17 Super Freak* 3:23
Total Time Disc 4: 71:27
TOTAL ALBUM TIME: 139:35
* Previously Unreleased
• Contains Previously Unreleased Material

“Face To Face” Words and Music by Danny Elfman and Siouxsie and the Banshees
Published By Warner-Barham Music LLC/
Little Maestro Music BMI/Dreamhouse Music PRS.

“Superfreak”
Written by Rick James and Alonzo Miller
Orchestrated by Bruce Fowler
Publishing by Jobete Music Co., Inc./
Stone City Music/Stone Diamond Music Inc.

 

[Elevator Man]

Even though the artwork and packaging on B89/BR seems like an improvement. And the remastered sound/sonic upgrade of B89 has me intrigued. However I've already triple dipped on both titles. I'll probably pick it up based on the customer feedback and if LLLR does another discount sale in the future. But this release is fantastic for those who missed out on both.

Somewhere down the line I do plan on purchasing "Big Top Pee Wee", which I didn't expect (neither B89/BR for that matter) to see in LLLR Black Friday batch. Since it's been OOP for many years now I missed out on the BTPW original 1988 soundtrack. I only have the suite from Music For A Darkened Theatre Vol.1. So this should fill a gap in my Elfman collection nicely.

 

[AnneFan]

The remaster for B89 has me intrigued too, however I'm going to pass. It's really just two cases joined together with new artwork. I have both expanded scores already.

 

[Elevator Man]

Congrats to Elfman on another Annie Award Nomination. This time for "Mr. Peabody & Sherman".

Music in an Animated Feature Production

Nicole Renaud – Cheatin’ – 
Plymptoons Studios
John Powell, Jónsi - How to Train Your Dragon 2
 – DreamWorks Animation
Danny Elfman – Mr. Peabody & Sherman – DreamWorks Animation
Bruno Coulais & Kila – Song of the Se
 – GKIDS/Cartoon Saloon
Joe Hisaishi – The Tale of The Princess Kaguya
 – GKIDS/Studio Ghibli

http://filmmusicreporter.com/2014/12/01/nominations-for-42nd-annie-awards-announced/

 

[Elevator Man]

Well LLLR started accepting and shipping orders today for The Danny Elfman Batman Collection and Big Top Pee Wee.

Samples are here:
http://www.lalalandrecords.com/Site/DEBC.html

http://lalalandrecords.com/Site/BigTopPeeWee.html

Also...

BIG TOP PEE-WEE SALE! In celebration of our new release of Danny Elfman’s remastered and expanded BIG TOP PEE-WEE, we are offering this exciting title at a sale price of $14.98! (Regular price $19.98). Sale price good thru Dec 19th.

Cool!

 

[Elevator Man]

'Big Eyes' Soundtrack Preview

The Weinstein Company has published the score for Tim Burton’s Big Eyes. The music is composed by the director’s regular musical collaborator Danny Elfman (Batman, Spider-Man, Alice in Wonderland). Also available to stream is the original song Big Eyes performed by Lana Del Rey and written by herself and Daniel Heath (check out the recently published lyric music video after the jump). Visit Weinstein’s guild website to listen to the soundtrack. Check back on this page for the soundtrack details as they are announced. Big Eyes starring Amy Adams, Christoph Waltz, Krysten Ritter, Danny Huston, Jason Schwartzman and Terence Stamp is based on the true story of Walter Keane, who was one of the most successful painters of the 1950s and early 1960s whose art, as was later revealed, was actually not created by him at all, but by his wife, Margaret. The comedy drama will be released on December 25, 2014. For updates on the film, visit the official movie website.

http://filmmusicreporter.com/2014/12/03/big-eyes-soundtrack-preview/

No word on a soundtrack release.

 

[Elevator Man]

Looks like Waxwork Records will be releasing Nightbreed on LP record sometime in 2015.

NIGHTBREED

Hard to find and prohibitively expensive, the score to NIGHTBREED composed by Danny Elfman is regarded as his darkest masterpiece. Directed by the legendary Clive Barker, NIGHTBREED is ambitious, over the top, and fantastic. We are ecstatic to finally bring to you this newly re-mastered, obscure gem with jaw-dropping packaging artwork. Even more details to come on this very special release as we pull them from the darkest reaches of Midian.

http://waxworkrecords.com/products/waxwork-records-2015-subscription

 

[Elevator Man]

Interscope Records will release a soundtrack album for Tim Burton’s comedy drama Big Eyes. The album features selections from the film’s original score composed by Danny Elfman (Spider-Man, Batman, Alice in Wonderland, A Nightmare Before Christmas). Also included are the original songs Big Eyes and I Can Fly performed by Lana Del Rey, as well as tracks by Miles Davis, The Lively Ones, Red Garland Trio, Carl Tjader & more. The soundtrack is now available to download on Amazon, where you can also listen to audio clips. Big Eyes is directed and produced by Burton, written by Scott Alexander & Larry Karaszewski and stars Amy Adams, Christoph Waltz, Krysten Ritter, Danny Huston, Jason Schwartzman and Terence Stamp. The movie tells the true story of Walter Keane, who was one of the most successful painters of the 1950s and early 1960s whose art, as was later revealed, was actually not created by him at all, but by his wife, Margaret. The dramedy will be released on December 25, 2014 by the Weinstein Company. For updates on the film, visit the official movie website.

Here’s the album track list:

1. Big Eyes – Lana Del Rey (4:41)
2. Bludan – Cast Of Big Eyes (3:15)
3. Doxy – Miles Davis (4:55)
4. Hey Now – Red Garland Trio (3:41)
5. Tropicville – Cast Of Big Eyes (3:10)
6. Rik-A-Tik – The Lively Ones (3:02)
7. A Minor Goof – Cal Tjader (3:54)
8. I Can Fly – Lana Del Rey (5:48)
9. Opening – Danny Elfman (3:59)
10. Who’s The Artist? – Danny Elfman (2:56)
11. Margaret – Danny Elfman (3:04)
12. Walter – Danny Elfman (4:49)
13. Victory – Danny Elfman (4:59)
14. End Credits – Danny Elfman (1:12)

http://filmmusicreporter.com/2014/12/23/big-eyes-soundtrack-released/#more-29391

It looks like a various artist album combined with about 20 minutes of score. Kind of disappointing. Also it doesn't mention anything about a physical album either.

 

[Elevator Man]

Marco Beltrami (The Homesman), Danny Elfman (Big Eyes), John Powell (How To Train Your Dragon 2), Trent Reznor (Gone Girl) and Hans Zimmer (Interstellar) discuss the process behind scoring the top films of the year.

[YT]gSAF9_ZHjfc[/YT]

 

[Elevator Man]

In honor of the holiday season I figured it would be appropriate to listen to some Christmas related Elfman scores, which I did two days ago.

 

[Elevator Man]

The soundtrack details for the upcoming "Fifty Shades of Grey" have been revealed. It looks like a song album of 16 tracks of various artists with two score tracks ( "Anna and Christian" and "Did That Hurt?") by Elfman will be released February 10th. Track list is up but samples haven't been released yet.

http://filmmusicreporter.com/2015/01/10/fifty-shades-of-grey-soundtrack-details/

Hopefully a score album is in the works b/c I have very little (if any) interest in the film. And two Elfman tracks isn't enough for me to purchase this album.

 

[Elevator Man]

USA Today claims that a score album for the upcoming "50 Shades Of Grey" movie will come out Feb. 17. It didn't mention whether or not it would be released on a pressed cd, digitally or in both formats.

; and veteran film and TV composer Danny Elfman was recruited to write the score (on a separate album due Feb. 17).

http://www.usatoday.com/story/life/music/2015/01/13/fifty-shades-soundtrack-unveiled/21636843/

 

[Elevator Man]

Details on the ‘Fifty Shades of Grey’ Score Album ...

Republic Records will release a score album for the film adaptation of E.L. James’ bestselling novel Fifty Shades of Grey. The album features the film’s original music composed by Danny Elfman (Spider-Man, Batman, Charlie and the Chocolate Factory, Alice in Wonderland, Men in Black). The soundtrack will be released on February 17, 2015 and is now available for pre-order on Amazon.

Album art and samples aren't available yet, but the track list has been revealed.

1. Shades Of Grey
2. Ana’s Theme
3. The Red Room
4. Then Don’t!
5. A Spanking
6. Going For Coffee
7. Where Am I?
8. Ana and Christian
9. Clean You Up
10. The Contract
11. The Art Of War
12. Did That Hurt?
13. Bliss
14. Show Me
15. Counting To Six
16. Variations On A Shade

http://filmmusicreporter.com/2015/01/17/fifty-shades-of-grey-score-album-details/

 

[Elevator Man]

The opening credits promise a better Apes movie than Tim Burton delivered

Planet Of The Apes (2001)
We’re going to bend the rules of Watch This a little today to talk about Danny Elfman, a movie you probably shouldn’t watch, and what soundtrack CDs used to label the “main title.” Elfman, formerly the frontman of new-wave weirdos Oingo Boingo, became something of a household name in the 1990s, known for his eminently hummable, immediately recognizable scores for countless Tim Burton movies, and, of course, for his theme to The Simpsons. He remains in-demand, but nowhere near as prominent, in part because Hollywood tastes have shifted in the direction of Hans Zimmer-esque repetition, but also because the long opening title sequence—something Elfman excels at scoring—has fallen out of favor in both film and TV.

Modern blockbusters aren’t big on opening credits; some don’t even have as much as an opening title. Marvel, for its part, has succeeded in building an audience cult around end credits, usually starting with an animated sequence structured like one of the opening titles of yesteryear, and throwing in a stinger to ensure viewers stay through the end. Back in the 1990s and 2000s, though, big- and low-budget productions alike generally started with three solid minutes of music and moving text—something to settle the viewer in and get them excited for the movie to come.

This is where Tim Burton’s misguided 2001 take on Planet Of The Apes comes in—more specifically, its opening credits sequence. Designed by Robert Dawson—who also designed the once-iconic opening credits for Batman Returns—and set to one of Elfman’s more aggressive and sinister themes, the sequence is an object lesson in pre-show hype, playing up the film’s admittedly overqualified cast and the involvement of such big-name behind-the-scenes talents as effects designer Rick Baker and costume designer Colleen Atwood.

The camera moves slowly over the surface of one of Atwood’s ape armors, savoring the eccentric details and promising a much better movie than the one that follows. Like the jaunty, mischievous music that accompanies the opening of The Simpsons, Elfman’s martial, confident theme settles the viewer into the world Planet Of The Apes is trying to create—a world that falls apart as soon as the credits end and the audience is treated to Mark Wahlberg talking to a chimp.

http://www.avclub.com/article/opening-credits-promise-better-apes-movie-tim-burt-213903

Burton's POTA wasn't that bad, imo. I prefer it to his adaptations of Alice In Wonderland and Dark Shadows. I found plenty of positives other than Elfman’s superb score. The cinematography, production design, and Rick Baker's make-up were all top notch. I thought Helena Bonham Carter, Tim Roth, Michael Clarke Duncan, Paul Giamatti, Cary-Hiroyuki Tagawa and David Warner did a great job in all that makeup. Charlton Heston's cameo was also a plus. Oh and Wahlberg was also tolerable, imo. The script just needed some touch ups.

 

[Elevator Man]

La La Land Records posted (on their Facebook page) the top 10 best selling LLLR releases of 2014. And The Danny Elfman Batman Collection was #9.

For you curious few, below are the top 10 best selling releases on the La-La Land Records website (ONLY) in 2014:

1. EMPIRE OF THE SUN
2. BATMAN THE ANIMATED SERIES VOLUME 3
3. TRANSFORMERS AGE OF EXTINCTION
4. SUPERMAN THE ANIMATED SERIES
5. THE MATRIX REVOLUTIONS
6. THE BLUE MAX
7. LAIR
8. X FILES FIGHT THE FUTURE
9. THE DANNY ELFMAN BATMAN COLLECTION
10. THE SUM OF ALL FEARS

 

[Elevator Man]

Amazon has revealed the cover art for the 'Fifty Shades of Grey' score album.

http://www.amazon.com/Shades-Origin...r_1_57?s=music&ie=UTF8&qid=1421419571&sr=1-57

 

[Elevator Man]

Good news for any Elfman fans living in New York.

DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON concerts will be kicking off the 2015 edition of the Lincoln Center Festival, with eight performance conducted by John Mauceri and featuring Elfman performing songs from THE NIGHTMARE BEFORE CHRISTMAS. Sandy Cameron is a guest violinist.

The shows run July 6-12

http://variety.com/2015/legit/news/danny-elfman-lincoln-center-festival-2015-1201411326/

 

[Elevator Man]

Top 10 Superhero Movie Musical Themes by WatchMojo.com

[YT]zuSmOf-MRh0[/YT]

They ranked Spider-Man at #3 and Batman (1989) at #2.

 

[Elevator Man]

Congrats to Elfman on another Annie Award Nomination. This time for "Mr. Peabody & Sherman".


http://filmmusicreporter.com/2014/12/01/nominations-for-42nd-annie-awards-announced/

John Powell & Jónsi Win Annie Award for ‘How to Train Your Dragon 2′

 

[Elevator Man]

Congrats to Elfman on another IFMCA nomination.

BEST ORIGINAL SCORE FOR A DOCUMENTARY

Ballet Boys, music by Henrik Skram

Bears, music by George Fenton

Cosmos: A Spacetime Odyssey, music by Alan Silvestri

Hidden Kingdoms, music by Ben Foster

The Unknown Known, music by Danny Elfman

http://filmmusiccritics.org/2015/02/ifmca-award-nominations-2014/