Batman '89 The Danny Elfman Appreciation Thread

[StabelliA]

I think Elfman is underrated as a singer. Listen to his Oingo Boingo work. He can carry a tune.

 

[Elevator Man]

The Flash ‘90' going out of print on 6/30 (or while supplies last) less than 200 remain – on sale for $10 each!!!

LLLR posted this yesterday on the film score monthly forums...

The Flash (1990's) - less than 75 remain

 

[Elevator Man]

Back To School was released in theaters 30 years ago today.

Overture
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Study Montage
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"Study Montage" is actually about 1:30 long but timer proceeds for another 30 seconds after cue ends.

Elfman and Oingo Boingo cameo in Back To School
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[Elevator Man]

Danny Elfman to Score Tate Taylor’s ‘The Girl on the Train’

Danny Elfman is currently scoring the upcoming dramatic thriller The Girl on the Train. The film is directed by Tate Taylor and stars Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramirez, Lisa Kudrow and Laura Prepon. The movie is based on Paula Hawkins’ bestselling novel and follows a woman who is devastated by her recent divorce, spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds. Taylor has also written the screenplay with Erin Cressida Wilson (Secretary, Men, Women & Children). Marc Platt (Bridge of Spies, Into the Woods, Drive) is producing the project. Taylor has previously collaborated with Thomas Newman on his last two movies, The Help and Get on Up. The Girl on the Train will be released on October 7, 2016 by Universal Pictures. Visit the official movie website for updates. (Deadline)

 

[Elevator Man]

LA Film Festival presents Danny Eflman Project: Rabbit and Rogue
[YT]r5i3Ul0Kx4M[/YT]

THE LA FILM FESTIVAL, DANNY ELFMAN AND INDI.COM ANNOUNCE 
A UNIQUE ONLINE CHALLENGE FOR FILMMAKERS


DANNY ELFMAN PROJECT: RABBIT AND ROGUE

LOS ANGELES (June 16, 2016) – Today the LA Film Festival, produced by Film Independent, announced Danny Elfman Project: Rabbit and Rogue, a unique online challenge for filmmakers in partnership with Danny Elfman and Indi.com.

Elfman is offering free licenses of his latest album, Rabbit and Rogue that can be used by filmmakers as the catalyst and soundtracks to their short films. The films can be live action, animated, narrative, documentary, music video, abstract or experimental.

 This unique marriage of music and movies will culminate in a competition of short films submitted for selection and screening at next year’s LA Film Festival.

 Filmmakers are encouraged to pick their favorite composition from Rabbit and Rogue and use it as inspiration and soundtrack for their own unique short films.

“I have composed the soundtrack to your short film,” said Grammy-winning, four-time Oscar® nominated composer Danny Elfman. “Now go make it! 

I can’t wait to see what the filmmakers come up with.”

“Danny is a giant among composers and recognizing the high cost of acquiring a top-notch score for independent filmmakers, he’s generously offered it up for NO COST!” said Stephanie Allain, Festival Director. “We are excited to partner with him to bring these films to the 2017 LA Film Festival.”

INDI Executive, Nicole Greenwood, had this to say about the initiative, “ I am thrilled that INDI will help showcase the talents of filmmakers from around the world using such brilliant scores. This really is a chance of a lifetime. What a beautiful gift from Danny Elfman – using his creations to inspire others to create. Like attracts like, and we at INDI can’t wait to see the discoveries that come from this!”

Over the next nine months, filmmakers can create their own short films and submit them to indi.com/laffdannyelfmanproject.

 Finalists will be selected as Audience Favorites and those favored by a team of elite industry judges. The leading contenders will then be judged by a Blue Ribbon panel of top industry producers, directors, composers, music supervisors, executives and renowned filmmakers.

The winning selections (one for each of Elfman’s six musical compositions) will be awarded a World Premiere at a special screening at the prestigious 2017 LA Film Festival.

Submissions are open at indi.com/laffdannyelfmanproject

Submissions deadline: March 1, 2017

The soundtrack of Rabbit and Rogue is currently in release by Sony Classical as a digital download with a deluxe, limited edition collector’s edition to follow.

THE LA FILM FESTIVAL, DANNY ELFMAN and INDI.COM ANNOUNCE THE DANNY ELFMAN PROJECT: RABBIT AND ROGUE

Good luck to those submitting in the contest but all I want is the pressed CD of the soundtrack already.

 

[BrollySupersj]

Those first 5 notes of the 89 theme while the WB logo appears, gives me chills every time.

 

[Elevator Man]

The nominations for the 68th Emmy Awards were announced this morning. Here are the music-related categories:

Outstanding Music Direction:

A Very Murray Christmas – Paul Shaffer
Danny Elfman’s Music From The Films Of Tim Burton (Live From Lincoln Center) – Danny Elfman
Jazz At The White House – John Beasley
Sinatra: Voice For A Century (Live From Lincoln Center) – Alan Gilbert
Smithsonian Salutes Ray Charles: In Performance At The White House – Rickey Minor & Christian McBride

 

[Elevator Man]

Listened to Elfman's tribal and percussive driven Planet Of The Apes (2001) soundtrack (LLLR/Elfman/Burton Box combo). Movie was released in theaters 15 years ago today.

Main Titles
[YT]b1tJN0ZoXLk[/YT]

Ape Suite #1
[YT]QMOjwbcKMF8[/YT]

The Hunt
[YT]OmZN8rXtURg[/YT]

Ape Suite #2
[YT]Y7MhHGdjoNY[/YT]

Thade Goes Ape
[YT]cVqtlDBZSt8[/YT]

Preparing For Battle
[YT]F9lajf7ScFg[/YT]

The Return
[YT]sCmh4gURh-4[/YT]

 

[Elevator Man]

‘Before I Wake’ Soundtrack Announced

The details of the soundtrack album for the supernatural thriller Before I Wake have been announced. The album features the film’s original score composed by The Newton Brothers (Oculus, Detachment, Life of Crime, High School), as well as additional music/themes by Danny Elfman (Spider-Man, Batman, Alice in Wonderland, Charlie and the Chocolate Factory). The soundtrack will be released on September 9, 2016 by Varese Sarabande and is now available for pre-order on Amazon. Before I Wake is co-written and directed by Mike Flanagan and stars Kate Bosworth, Thomas Jane, Annabeth Gish, Dash Mihok and Jacob Tremblay. The movie follows a couple who take in an orphaned child whose dreams and nightmares manifest when he sleeps. The thriller will be released nationwide on September 9 by Relativity Media. Visit the official movie website for more information.

Here’s the album track list:

1. Somnia (1:59)
2. A New Home (1:14)
3. Flashback (1:02)
4. Cody (2:51)
5. Monarchs (0:54)
6. First Day Of School / Afraid To Sleep (2:44)
7. Lighterflies (1:32)
8. Someone’s Here (1:41)
9. Cody And Annie (1:02)
10. Family Portrait (1:48)
11. Sean (Danny Elfman) (2:01)
12. I’m Sorry (1:19)
13. The Life Cycle Of Butterflies (2:12)
14. Memories Of Sean (1:45)
15. Christmas (Danny Elfman) (2:01)
16. I’m Always With You (1:54)
17. The Bully (1:19)
18. Asleep In Class (2:26)
19. I’m Awake, This Can’t Be Happening (1:34)
20. Missing Kid (1:12)
21. Zolpidem (1:15)
22. Come To Bed (1:32)
23. Taken Away (1:42)
24. He Won’t Wake Up (2:14)
25. Cody’s Past (1:27)
26. What Happens When He Dreams? (6:52)
27. He Needs To Sleep (3:10)
28. Something’s In The Bathroom (2:27)
29. Nightmares (2:48)
30. Defeated (Danny Elfman) (9:58)

Before I Wake - Official Trailer [HD]
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So three Elfman cues out of thirty tracks. And those three cues are 14 minutes long when combined. Hopefully the 27 other cues (by The Newton Brothers, who I'm also not familiar with) are really good for me to justify purchasing this album. Also the movie looks rather tepid and tedious of the genre today despite it starring both former Punisher (Thomas Jane) and Lois Lane (Kate Bosworth).

 

[Elevator Man]

Sony Classical to Release ‘The Girl on the Train’ Soundtrack

Sony Classical will release the official soundtrack album for the dramatic thriller The Girl on the Train. The album features the film’s original music composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland, Men in Black, Fifty Shades of Grey, The Nightmare Before Christmas). The soundtrack will be released on October 7, 2016 and is now available for pre-order on Amazon. Check back on this page for the full album details. The Girl on the Train is directed by Tate Taylor (The Help) and stars Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramirez, Lisa Kudrow and Laura Prepon. The movie based on Paula Hawkins’ bestselling novel follows a woman who spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds. The film will be released nationwide on October 7 by Universal Pictures. Visit the official movie website for more information.

The Girl On The Train - Official Trailer - In Theaters October 7 (HD)
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[Elevator Man]

'Nightmare Before Christmas' and Danny Elfman returning to Hollywood Bowl for 2016 Halloween

"The Nightmare Before Christmas” is returning to the Hollywood Bowl for Halloween, with Danny Elfman reprising his live performance as Jack Skellington, the melancholy Pumpkin King who longs to celebrate Christmas.

The performances, scheduled for Oct. 29 and 30 at the Bowl, will feature an orchestra and chorus led by conductor John Mauceri performing the soundtrack to the Tim Burton stop-motion animated movie live to screen.

Joining Elfman onstage will be three other “Nightmare” veterans who will reprise their vocal performances from the movie — Paul Reubens, who will perform the voice of Lock, one of three mischievous trick-or-treaters; Catherine O’Hara as Sally, the love interest of Jack Skellington; and Ken Page as Oogie Boogie, the burlap-skinned Halloween villain.

The 1993 movie features an original score written by Elfman, who also performed the singing voice of Skellington in the feature.

Last year, “Nightmare” was performed live at the Bowl for the first time to ecstatic crowds of all ages. The festivities included an audience costume contest for characters from Burton’s filmography.

Elfman was “ pretty joyful at the end of it,” Richard Kraft, a producer of the show, said in a recent interview. “It played into things that Danny loves, and it was a celebration of a movie that he is close to.”

Organizers stopped short of saying that “Nightmare" would become an annual Bowl tradition. “One year at a time,” said Laura Engel, another producer of the show.

But she added: “L.A. doesn't have an upscale Halloween event to go to — a place to take your family that isn't a haunted house type thing. This fit a major niche.”

Performances of “Nightmare" are scheduled for Oct. 29 at 8 p.m. and Oct. 30 at 6:30 p.m., with tickets going on sale to the general public on Sept. 9.

Audiences are encouraged to arrive early to participate in the Burton-themed costume contest and other family festivities.

 

[Elevator Man]

Danny Elfman Looks Back at Tim Burton’s Cinematic Adventures in Melody

“I wouldn’t have a career were it not for Tim and ‘Pee-wee’s Big Adventure,’” says composer Danny Elfman of his 30-year collaboration with director Tim Burton, who will have his hands and feet immortalized in cement Sept. 8 at the Chinese Theatre. “I went from zero to 90 the day ‘Pee-wee’ was released.”

They have done 16 films together, including the mega-hits “Batman,” “Charlie and the Chocolate Factory” and “Alice in Wonderland,” and the cult favorites “Beetlejuice,” “Edward Scissorhands” and “The Nightmare Before Christmas.” Elfman earned a Grammy for “Batman” and an Oscar nomination for Burton’s “Big Fish.”

“From ‘Pee-wee’ through ‘Nightmare Before Christmas,’ every one of those first six films opened up a new door, artistically and commercially,” Elfman says. “I went from the comedy guy (‘Pee-wee&#8217 to the oddball quirky guy (‘Beetlejuice&#8217 to the big dark film guy (‘Batman&#8217 to the melodic romantic guy (‘Scissorhands&#8217. They were critical doors to walk through.”

Elfman is up for an Emmy for music direction on the PBS telecast of “Danny Elfman’s Music From the Films of Tim Burton,” a two-hour “Live From Lincoln Center” concert that features a 90-piece orchestra and 50-voice choir performing suites and themes from many of the films.

The show has played more than 50 venues from London to Tokyo to Paris over the past three years, combining imagery from the films, Burton’s original drawings, and Elfman’s alternately touching and manic music. Elfman himself performed in more than 30 of the concerts, including London, New York, L.A., and Tokyo.

The concert showcases the wide range of music in Burton’s films, from the wacky “Mars Attacks!” to the wildly percussive “Planet of the Apes,” the eerie Gothic quality of “Sleepy Hollow” and the warmth and emotion of “Frankenweenie.”

“The thing that I like most about working with Tim is that all of his responses to my music are visceral,” notes Elfman. “He either feels it or he doesn’t. But he’s never going to hit me with ‘logic.’ If there’s one thing that’s a music destroyer, it’s logic: too thought-out, too intellectual, about what it should or shouldn’t be doing.”

“It’s a certain fit of sensibilities,” Burton told Variety about Elfman in 2006. “It’s the way you feel about certain people, people you just relate to. We like a lot of the same things. He’s always been a kind of guidepost, to try and help set the tone of the movie, capture the spirit of it.”

Nowhere was this clearer than in their early work, especially “Batman” with its dark and driving theme for the Dark Knight and its bizarre waltz for the mad Joker, and “Edward Scissorhands” — perhaps his most popular work — with its celeste-and-choir fairy-tale ambiance and heartrending, soulful finale. Renowned

English choreographer Matthew Bourne found “Scissorhands” so moving he created a ballet based on the score in 2005.
As Johnny Depp (star of seven Elfman-scored films including “Scissorhands” and “Alice&#8221 says of Elfman’s music: “In a very strange way, it’s the sound of Tim.”

I'm still disappointed Elfman couldn't score Burton's upcoming adaptation of "Miss Peregrine's Home For Peculiar Children" due to scheduling conflicts. It is ironic Variety would even post an article about past Elfman/Burton collaborations near it's release date due to Elfman's absence on the project.

 

[Elevator Man]

Sean Callery, Victor Reyes, Mac Quayle & Danny Elfman Win Emmy Awards

In the Outstanding Music Direction category, Danny Elfman was honored for his work on Danny Elfman’s Music From The Films Of Tim Burton (Live From Lincoln Center).

Congrats to Elfman on his Emmy win.

 

[Elevator Man]

‘The Girl on the Train’ Soundtrack Details

The full details of the soundtrack album for the film adaptation of The Girl on the Train have been revealed. The album features the film’s original music composed by Danny Elfman (Batman, Spider-Man, Alice in Wonderland, Avengers: Age of Ultron, Fifty Shades of Grey). The soundtrack will be released on October 7, 2016 by Sony Classical and is now available for pre-order on Amazon. The Girl on the Train is directed by Tate Taylor (The Help, Get On Up) and stars Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney, Lisa Kudrow and Laura Prepon. The movie is based on the bestselling novel by Paula Hawkins and follows a woman who spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds. The dramatic thriller will be released nationwide on October 7 by Universal Pictures. Visit the official movie website for more information.

Here’s the album track list:

1. Riding the Train
2. Something’s Not Right
3. Megan
4. Rachel
5. Stolen?
6. 3 Women
7. All *****ed Up!
8. Wasted
9. Missing Time
10. Day One
11. Deviled Eggs
12. Touch Myself
13. Uncertainty
14. The Perfect Couple/ Password
15. I’m Sorry
16. A Sad Liar
17. You’re Always Wasted
18. Memory
19. Really Creepy
20. Just Desserts
21. Self Defense
22. Resolution
23. The Girl On The Train – Main Titles

One track title containing an F-bomb. Wow!

 

[Elevator Man]

The medical thriller Extreme Measures was released in theaters 20 years ago today. Both the film and score have drifted into obscurity. It has a very grim, melancholic, and esoteric score by Elfman, which reflects the movie's tone. Elfman's score is pretty much in the vein of his approach to Dolores Claiborne.

Main Title
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The Descent
[YT]MS9AlHuJ1_U[/YT]

Tough News
[YT]Dk1cHfk1N4w[/YT]

Elevator Madness
[YT]x5-OYDHnuwc[/YT]

Epilogue / End Credits
[YT]M0AeypglTnM[/YT]

 

[Elevator Man]

Even though Elfman's debut original concert "Serenada Schizophrana" premiered at Carnegie Hall February 23, 2005. The album was released 10 years ago today. In fact I remember buying it at my local barnes & noble that very day. When I came to pay for it the album wasn't stocked on shelves yet b/c it was boxed with other cds that were delivered that day lol.

Pianos
[YT]BCZXPxMyL_U[/YT]

The Quadruped Patrol
[YT]1dPpbYlW0pQ[/YT]

I Forget
[YT]73BzbXYpnVY[/YT]

Bells and Whistles
[YT]uD5OCEn2ElI[/YT]

 

[Elevator Man]

Danny Elfman on scoring ‘The Girl on the Train’: The darker it gets, the happier I get

Depending on the day, Danny Elfman may sound more like Jack Skellington at the outset of Tim Burton’s 1993 goth fantasia “The Nightmare Before Christmas,” singing a weary lament. Or he might sound like Jack after his Christmas debacle — rejuvenated and happy.

“I’m the eternal pessimist,” Elfman, 63, admitted by phone from his home in Santa Barbara. “But if you get down to my core, you’ll find an optimist trying to break through an eternal pessimist. I always feel the doom and gloom is around the corner, but inside there’s an optimist going, ‘Not necessarily! It doesn’t always go the way you call it!’”

Elfman’s buoyant mood can be attributed to the rewarding experience he had scoring “The Girl on the Train,” Tate Taylor’s film adaptation of the popular novel by Paula Hawkins, which stars Emily Blunt and opens Friday.

“It’s a thriller and dark, so of course that appeals to me,” said Elfman. “But as much as that, it was meeting a director who I had a feeling would give me a long leash.”

Elfman likes to present directors with three different approaches to a score, one being decidedly more unorthodox. “The pleasureful moments for me are when I play something which I think is more off-center,” he said, “and the director’s eyes light up and go, ‘Yeah!’ Then I go, ‘All right — we’re in business.’”

In this case, the angle was a bass-heavy, rhythmic motor using (among other things) de-tuned mandolins and screaming electric guitars. In some scenes, musical phrases are run in reverse for a disorienting effect. Most of the score was made with synthesizers and sampled instruments, and Elfman said he had fun taking a break from orchestras, spending half of his time programming sounds late at night.

“The middle of this movie gets very dark,” he said, “and the darker it gets, the happier I get.”

Not every film is a happy experience for Elfman, who began his metamorphosis from Oingo Boingo frontman to film composer with 1985’s “Pee-wee’s Big Adventure.” A recent YouTube essay (“The Marvel Symphonic Universe”), in an attempt to explain the dearth of memorable melodies in Marvel films, relied on Elfman’s 2012 comments from a filmed interview with the Hollywood Reporter.

“Temp music is the bane of my existence,” he said in the video, referring to the soundtrack of preexisting score cues that directors and editors use when cutting a film. Composers are frequently asked to imitate the temp track, the essay argued, thereby diluting the final score and curbing innovation. “I won’t listen to it but once,” he continued, “and if they’re addicted to it, it’s just going to make my job harder.”

Elfman said he hadn’t seen the YouTube video, but he took issue with its premise.

“I think that might be oversimplifying, because there have been temp tracks for 30 years and longer,” he said. “The fact of the matter is, you can’t preview a movie without a temp track.”

On this day, at least, he sympathized with directors who, having spent months hearing certain cues in the editing room, get stuck on their interim soundtracks.

“Look, being a composer today, it’s a tough job,” he said. “You have to be able to really improvise and roll with things in a unique way. We’re the last cart on the train, so to speak, and we have the sometimes unfortunate position of being there when the director is in their most volatile place, and perhaps their most insecure place.”

Of course, Elfman’s patience with the challenges of his profession swings back and forth. Every five years, he said with a laugh, he threatens to retire. Besides the bane of temp tracks, digital editing has accelerated the schedule for composers and the need for score changes (large and small) up to the very last minute. There’s also the changing zeitgeist of taste, which has all but abandoned the kind of lush, melody-driven scores Elfman once wrote for films such as “Batman” and “Edward Scissorhands.”

“Everything goes in cyclic periods, up and down, with trends in scoring,” he mused. “Frequently I’m asked: ‘Oh, my God, is this the death of film scoring?’ But I’ve been hearing that steadily since 1985 when I started.”

Hunger for Elfman's music and the chance to hear him perform it live have not diminished, however: He’s reprising his role as Jack Skellington for three nights at the Hollywood Bowl. A screening of "The Nightmare Before Christmas" will be accompanied, as it was last year, with live orchestra and singers in the lead-up to Halloween. (Tickets to the Oct. 28 show are still available.) Elfman, who composed the film’s songs and score in addition to providing Jack’s musical voice, will be joined by original cast members Ken Page, Catherine O’Hara and Paul Reubens.

The event reflects the current stage in Elfman’s career, which has him looking to the past as well as the future. It was born out of a touring retrospective concert of music he’s written for regular collaborator Tim Burton, which is what coaxed Elfman back to the microphone after 18 years of not performing in public. He’s also in the middle of writing a new violin concerto — joining his concert piece “Serenada Schizophrana” and the ballet “Rabbit & Rogue” — which will premiere next June in Prague.

“That stuff does keep me sane,” he said. “I keep telling myself I’ll do one concert work every year, because I do think it keeps me grounded in some way.”

Selling out the Bowl and taking creative refuge in the concert hall, as well as having another satisfying scoring experience on the upcoming James Ponsoldt thriller “The Circle,” has Elfman singing a happy tune.

“For the first time since I don’t remember when,” sings a revived Jack Skellington toward the end of “Nightmare,” “I felt just like my old bony self again.”

“Yeah,” Elfman cautioned, “but you know, two days ago, who knows. Believe me, the two Jacks ... it’s moment to moment.”

 

[Elevator Man]

Danny Elfman Composed An Original Horror Movie Score For Trump Stalking Hillary At The Debate

Danny Elfman's "TRUMP STALKS HILLARY"
[YT]eYk9T8i46xA[/YT]

Remember the creepy, menacing way Trump loomed over Hillary during the second presidential debate? Well, believe it or not – and this is 100% real – Danny Elfman, the guy who did the creepy, menacing music for Beetlejuice, The Nightmare Before Christmas, Tales From The Crypt, Dark Shadows, Hitchcock, the Psycho remake, Goosebumps, Frankenweenie, The Wolfman, Hellboy 2, Corpse Bride, Sleepy Hollow and tons more (the scene where the clowns destroy Pee-Wee’s bike in Pee-Wee’s Big Adventure, anyone?) has taken the footage of Trump stalking Hillary at the debate and composed for it a custom horror movie musical score.

Here’s what Danny “the Elf Man” Elfman had to say about the inspiration for his latest horror score:

“Watching Trump lurching behind Hillary during the debate felt a bit like a zombie movie, like at any moment he was going to attack her, rip off her head, and eat her brains.”

The best thing about this piece is that it’s completely bipartisan – if you’re a fan of Hillary then you can certainly appreciate the observation that Trump was clearly trying to physically intimidate her by looming behind her like some pervert on the subway, and if you like Trump, well, then this’ll at least help you better visualize him biting off her head.

 

[Pfeiffer-Pfan]

Genius!

 

[Elevator Man]

Even though Marco Beltrami is the sole composer of Scream 2 (and Quadrilogy for that matter). Elfman composed two cues for the sequel. So that's why I'm posting this info here.

SCREAM 2: The Deluxe Edition

We’re so excited about this major film score expansion! It was 18 years ago, in 1998, when we released an album with fifteen minutes each from Marco Beltrami’s Scream and Scream 2. Both are Beltrami classics. In 2011 we finally set things right with a Deluxe Edition for the original Scream and now, five years later and just in time for Halloween, it’s time for Scream 2. Not only have we included all of Marco’s score but Scream 2: The Deluxe Edition even includes Danny Elfman’s Cassandra Aria and Cassandra Reprise! If you only know the score from the previous album, this one will be a wonderful revelation.

Sydney (Neve Campbell) and tabloid reporter Gale Weathers (Courteney Cox) survived the events of the first "Scream," but their nightmare isn't over. When two college students are murdered at a sneak preview of "Stab," a movie based on the events from the first film, it's clear a copycat killer is on the loose. Sydney and Gail, as well as fellow survivors Deputy Dewey (David Arquette) and Randy (Jamie Kennedy) have to find out who is behind this new murder spree, before they all end up dead.

Limited Edition of 2000 copies

1.Opening 47)
2.Phil Scares Maureen (1:39)
3.Maureen Steals the Show (1:47)
4.Your Lucky Day 49)
5.Check Out the News (1:06)
6.Sid and Randy Talk (1:07)
7.Introducing Gail Again (1:09)
8.Sid and Dewey Talk (2:20)
9.Dewey’s Theme (1:39)
10.Cici’s Home 29)
11.Cici Gets the Call (2:58)
12.Cici Is Killed (2:37)
13.Crime Scene (1:33)
14.Sidney Is Attacked (2:50)
15.Derek At Hospital (1:20)
16.Killing Theories (1:30)
17.Cassandra Aria†(2:16)
18.Sid Runs Into Derek (1:38)
19.Murder In The Van (4:07)
20.Sid In Library (1:27)
21.Cotton Confronts Sidney (2:13)
22.Cops Question Cotton (2:54)
23.Joel Quits (3:38)
24.Dewey and Gail Attacked (6:43)
25.Sid Says Goodbye (1:49)
26.Sid Needs a New Roommate (6:40)
27.Cassandra Reprise†(1:10)
28.Showdown (3:17)
29.The Big Showdown (8:01)
30.Sid Kills Killer (2:46)
31.More Lives Than a Cat (1:15)
32.Scream 2 Theme (1:26)

 

[Elevator Man]

Goosebumps is loosely based on the 90s best selling R.L Stine anthology children’s book series of the same name. The movie centers around a couple of teenagers, who accidentally unleash monsters out of Stine’s magical manuscripts. The teens must then team up with Stine to send them back inside the books before they destroy the entire town. Even though it didn’t adapt any stories from the Goosebumps books and despite it looking like a silly Jack Black horror comedy the movie was actually entertaining. It’s pretty much follows the formula of both Gremlins movies, Jumanji, Mars Attacks!, Small Soldiers, and even the Night At The Museum movies. So if you’re into those you’ll probably enjoy Goosebumps as well. Highly recommended for the whole family.

I enjoyed Elfman’s score in the movie as well. I thought it really heightened the story and plot. When you have scores such as Beetlejuice, the Tales From The Crypt TV show theme, The Nightmare Before Christmas, Mars Attacks!, Frankenweenie (2012), etc. on your resume it was a no brainer hiring Elfman to score Goosebumps. The score feels very vintage Elfman. It’s quirky, gothic, kooky, and fun. The orchestrations and instrumentations are very dynamic. The score doesn’t take itself too seriously either. In fact it perfectly characterizes the movie’s tone.

There were two themes I noticed in the score. The first theme, which is the main Goosebumps theme, is very catchy and typical Elfman. It highlights the protagonists adventure as well as the chaos the monsters bring on screen. Elfman interweaves many variations of the theme throughout the score. It’s probably one of my favorite themes from the composer in this current decade. Some listeners might criticize the main theme for dominating most of the score. And that it might seem repetitive to some, but I dig the theme so much that it didn’t bother me.

The second theme is the score’s emotional theme, which not only represents the character/love interest Hannah, but it also reflects the friendship/bond between her and Zack (the main protagonist). It’s a very tender theme that is somewhat tragic, [BLACKOUT]b/c later in the story it’s revealed that she’s actually a fictional character/monster from one of Stine’s magical manuscripts as well. And has to return to the books with the rest of the monsters during the film’s climax.[/BLACKOUT] Hannah’s theme also reflects the predicament that Zack and her are in throughout the movie. I think Elfman was also going for an unrequited love approach. Two moments in the score Hannah’s theme is played on what might be a pan flute (?) I’m not sure, but it’s an Irish/Celtic instrument that Horner often used in many of his scores ala Titanic. I thought it was a nice touch b/c it highlights the heartache of Zach and Hannah’s predicament. Hannah’s theme brings heart to a mostly kooky and chaotic score.

Highlights from the album for me were “Goosebumps”, “Ferris Wheel”, “Ice Rink” “Slappy’s Revenge”, “Bus Escape”, “Lawn Gnomes”, “Mantis Chase”, “Hannah’s Back”, “They’re Here”, “Farewell”, “Credits”, “The Books”, “Werewolf”, “Fun House” and “The Twist”.

The album is a little over 64 minutes long but it didn’t seem to drag for me at least. Elfman also included 12 bonus tracks, which rounds out the album to 29 tracks total. The first 17 tracks is Elfman’s album presentation. Some might complain that the bonus tracks don’t add much to the album b/c most of those tracks underscore the teens sneaking around and hiding from the monsters, which didn‘t bother me. The tracks not being in chronological order might also be a criticism for some. I thought the album had a nice flow overall, however, I would like to hear and put together the entire album in chronological film order.

The score also might be too bombastic for some. They might not be able to follow what’s going on without context b/c Elfman scores the action and chaos on screen very closely.

I enjoyed the album overall, which is perfect for the month of Halloween. The main theme resonates with me. The emotional/Hannah theme balances out all of the bombast and madness in the score. Highly recommended to fans of Elfman’s more typical, gloomy, kooky, and wild scores.

 

[Elevator Man]

DICK TRACY (2CD)

Label: Intrada Special Collection Volume ISC 363
Date: 1990
Time: 103:57
Tracks: 79

Danny Elfman’s exciting, tuneful score for Warren Beatty big-budget filming of comic strip hero Dick Tracy gets the royal 2-CD treatment! Beatty also stars, with support from mega-cast including Madonna, Al Pacino, Dustin Hoffman, James Caan, many others. Legendary cameraman Vittorio Storaro shoots in bright comic colors, equally famed production designer Richard Sylbert realizes vivid art deco cityscape, Disney’s Buena Vista effects team creates fantastic matte paintings, other visuals. Add incredible makeup for wide array of monstrous villains and Chester Gould’s police detective rises from comic strip to real life on the big screen, earning three Academy Awards in the transition! Danny Elfman anchors with period New York vibe, then creates dynamic, sizzling orchestral action music with aggressive overtones plus gorgeous seductive theme for “Breathless” Mahoney (Madonna). Unusual scoring assignment has Elfman writing his music with numerous ideas designed to play into, out from and circle around many Stephen Sondheim songs (issued at time of movie’s release and not available for this edition) while maintaining thematic structure of its own. Elfman succeeds! Even in brief, cues are dazzling, fully-realized miniatures! Main Dick Tracy theme is martial and righteous, romantic ideas are sumptuous and harmonically fluid. Robust and ravishing from start to finish! 1990 album offered just 35 minutes of score with creative edits and assemblies within each sequence. However, Elfman wrote and recorded over 100 minutes of music, including several alternates plus versions not heard in the film. Some of these alternates boast strikingly different ideas, others are more nuanced. At request of composer, Intrada presents original 1990 score album intact from digital album master, then features unedited cues as scored in picture sequence plus treasure trove of additional material. Elfman fans should be delirious! To prepare all the new material for this lavish 2-CD set, Intrada engaged original scoring engineer Dennis Sands to create brand new 2016 state-of-the-art stereo mixes from Disney’s 32-track digital session masters. Hear stunning array of new details! Fascinating to enjoy Elfman’s original album (a masterful presentation itself) then hear unedited versions of the cues with all-new clarity following their original 1990 mixes. All those additional cues and alternates are even more icing on the cake. Notes by Jeff Bond, rich graphic design by Kay Marshall, Joe Sikoryak with flipper-style cover art enhance this fabulous package. Early-ish Danny Elfman at his rousing, symphonic best! Steve Bartek, Jack Hayes headline orchestrators, Shirley Walker conducts. Intrada Special Collection 2-CD release available while supplies and interest remain!

CD 1 - 1990 Original Score Album
01. Main Title (3:36)
02. After The “Kid” (1:45)
03. Crime Spree (1:54)
04. Breathless’ Theme (2:14)
05. Big Boy/Bad Boys (2:11)
06. Tess’ Theme (1:13)
07. Slimy D.A. (1:41)
08. Breathless Comes On (2:53)
09. Meet The Blank (1:43)
10. The Story Unfolds (1:59)
11. Blank Gets The Goods (2:25)
12. Rooftops (2:01)
13. Tess’ Theme – Reprise (1:16)
14. The Chase (2:56)
15. Showdown / Reunited (4:07)
16. Finale (0:58)
Total Time: 34:59

Unedited And Additional Original Score Cues
17. Main Title – Part 1** (1:08)
18. Main Title – Part 2** (2:25)
19. Flattop’s Entrance** (0:34)
20. Tracy’s Entrance (0:31)
21. Lips Gets Nailed (0:38)
22. And They’re Off** (1:45)
23. Meet Big Boy** (0:33)
24. Lips Needs A Bath* (0:28)
25. Lips Needs A Bath (Alternate) (0:28)
26. Lips Gets A Bath** (0:54)
27. Walnuts (0:39)
28. Breathless Comes On** (1:19)
29. Crime Lab** (0:23)
30. Crime Lab (Alternate)* (0:14)
31. Kid Montage* (1:40)
32. Love One (1:15)
33. Breathless Again** (2:56)
34. Tracy Spies (0:24)
35. Spaldoni Go Boom (1:14)
36. Tracy Gets Nabbed (0:38)
37. Boiler Go Boom!* (Danny Elfman / Shirley Walker) (2:24)
Additional Cues Time: 22:29
CD 1 Total Time: 57:35

CD 2 - Unedited And Additional Original Score Cues (Cont.)
01. Badge* (0:21)
02. Badge (Alternate)* (0:21)
03. Badge (Alternate 2)* (0:21)
04. Slimy D.A**. (1:43)
05. Peach Juice* (0:57)
06. Peach Juice II* (0:38)
07. Peach Juice II (Revised)* (0:38)
08. Peach Juice II (Alternate)** (Danny Elfman / Shirley Walker) (0:24)
09. Meet The Blank** (2:02)
10. Tess Farewell (Alternate) (1:07)
11. Bug Rescued** (1:41)
12. Bug Rescued (Alternate)** (1:41)
13. At The Dock (1:20)
14. Blank Gets The Goods** (1:49)
15. Tess Nabbed* (0:21)
16. Tess Nabbed (Alternate) (0:14)
17. Bait** (0:54)
18. Gasser** (0:57)
19. Fletcher Shot/Framed (1:35)
20. News Montage* (0:16)
21. Crime Spree Montage* (1:54)
22. Jail Cell (0:41)
23. Kid/Tracy Hits the Street (0:43)
24. Chief Gets A Call (0:29)
25. Tracy Finds Tess (A/B)** (0:46)
26. Tracy Finds Tess (A/B/C)** (1:55)
27. Tracy Finds Tess (A/B/C) (Revised)** (2:05)
28. Mine Enemy (Revised)** (0:57)
29. Rescue – Part I (0:22)
30. Rescue – Part II (0:15)
31. Rescue – Part III (0:15)
32. Rescue – Part IV/Rescue – Part V (0:57)
33. Blast Out (0:25)
34. Tracy To The Rescue II** (2:57)
35. Mano A Mano** (2:21)
36. Revealed / Reunited** (2:32)
37. Revealed / Reunited (Revised)* (2:29)
38. Finale (Revised)** (0:58)
39. Finale (Alternate) (0:58)
40. Finale* (1:08)
41. Breathless #1* (0:58)
42. Breathless #2* (0:48)
CD 2 Total Time: 46:22
*Not featured in film.
**Includes music not featured in film.

Finally! I've never owned the original 1990 album, which has been out of print for many years now. I do have his original Dick Tracy "Main Title" track that was included on his Music For Darkened Theatre Volume 1 compilation. Disappointed ,however, that they didn't or couldn't include the music from this rare Dick Tracy trailer b/c Intrada has done it in the past with Judge Dredd and Elfman's own Edward Scissorhands.

Dick Tracy (1990) - Original Theatrical Trailer

Spoiler

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Still looking forward to ordering and listening to this bad boy.

 

[Elevator Man]

The man in charge of Intrada Records posted this comment about the Dick Tracy release on the FSM Forums.

People may not be aware, but the scoring of this film must have been a nightmare for Elfman with the amount of rewrites and rerecording he had to do. You might catch a hint of this just looking at the track list. A natural side effect is the elements were massive. Yet, we mixed everything we had, which was a ton when you consider all the early rehearsals, partial takes, etc. The cues in the album program that are in not in the unedited program were simply not on the unmixed reels. They were only to be found in the already assembled program. No idea where the unedited sessions for those went. You know have what we have. Perhaps there's a secret stash of other elements somewhere. But for now, we didn't hold anything back.

Most likely the scope of the project originally planned for the unedited program to exceed the length of 2-CDs and to prevent it from spilling onto a third CD, the unedited program was mapped to encroach on the first disc. Probably the unedited program ended up shorter than expected, but the discs were not remapped. I'm actually surprised that this became such a big issue.

Guess that explains why the trailer music wasn't included. It's a shame they couldn't include every cue, however, it doesn't lower my excitement for this release.

 

[Elevator Man]

Fans of Sam Raimi, Pulp, Action, and Horror rejoice! Waxwork is proud to include Danny Elfman’s amazing score to DARKMAN as part of the 2017 Waxwork Records Subscription! The over the top 1990 film stars Liam Neeson and is directed by Sam Raimi (The Evil Dead Trilogy). Danny Elfman’s bold, lively, and bombastic score has been re-mastered from the original masters and will be available on exclusive 180 gram colored vinyl, housed in deluxe packaging, and features all new artwork by Francesco Francavilla! DARKMAN is a “superhero” movie like no other. Original, dark, fun, and in your face!

WAXWORK RECORDS 2017 SUBSCRIPTION

Just like Elfman's Nightbreed last year. Waxwork Records will be releasing the Darkman soundtrack on vinyl format next year. There aren't any details yet if it's just a reissue of the original 1990 soundtrack or if it's an expansion, but Nightbreed wasn't expanded so... Even though Waxwork Records remastered Nightbreed, a CD still hasn't coincide with the vinyl release. So I doubt Darkman will get a reissue or expanded album on CD format though they are remastering the score for the vinyl.

 

[Elevator Man]

Mars Attacks! was released in theaters 20 years ago today. Arguably Elfman's wildest score for a Burton movie.

Mars Attacks [1996] Main Titles Blu-Ray

Spoiler

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The Martians Attacks

Spoiler

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Martian Madame

Spoiler

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Martian Lounge

Spoiler

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