Jumat, Juni 17, 2011

Grammy Museum Audience Questions Take Elfman Back to Boingo & Forward Into the Future

Bagian ketiga dari wawancara dengan Danny Elfman di Grammy Museum sudah di-publish oleh Buzzine, and yay this is the most interesting one! Berikut kutipannya:

...composers have been full of bullshit since day one. Ever since Bernard Herrmann said, to answer the question, “Why did you write the Psycho score for strings?” “Because it was black and white,” and people still say that now. Of course that was bullshit. Citizen Kanewas black and white. That doesn’t mean anything. It’s just something that popped into his head. So that is part of the job. None of us know how what we make work works, and I think any of us that are any good, in particular, don’t know what we’re doing really, or how it works.

...for ten years I went between the band and scoring, and it was a love/hate thing, but it kept the balance. And then for the next ten years, I didn’t, and I found myself really losing it. I had to find something else, so I started writing scripts, and I wrote three scripts and sold them, but I never really stuck with it. But I had to do something else, and then I realized I’ll take this commission. And when I did that, I realized I need to do something every year that’s not for film. I haven’t been totally true to that, but I’m trying, and I know exactly the piece I wanted to write this year. I want to start doing chamber music now; the ballet was a great experience. And these things are great pressure valve releases because I can’t do just film music or I’ll go nuts.

...as it turns out, I have five films booked, which is the most I’ve ever had in the future, which is weird. I’ve never been able to see more than two or three ahead, and I don’t like, actually, having my future all booked up. So it’s a very weird thing because it’s like, “Oh, I see. Fourteen months of my life is already totally spoken for,” and it’s scary, but it just happened. It’s a two-Tim Burton year, and a Sam Raimi, so there’s three. I’m not going to say no to Tim and Sam -- that’s already three movies. And then Men in Black, well of course I don’t want somebody else to do number 3, so there was another one. And then another one called The Hunger Games popped up, which seemed like really interesting thing.

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Wow... banjir! Restless dari Gus van Sant sudah selesai tinggal menunggu dirilis 16 September 2011. Iris akan mulai dipentaskan oleh Cirque du Soleil tanggal 25 September 2011. Film Real Steel akan diputar 7 Oktober 2011. Berikutnya The Hunger Games 23 Maret 2012. Film Tim Burton terbaru, Dark Shadows direncanakan akan diputar 11 Mei 2012, diselingi dengan Men In Black III 25 Mei 2012, dan kemudian film Tim Burton lainnya Frankenweenie tanggal 5 Oktober 2012. Terakhir adalah Oz, The Great and Powerful tanggal 8 Maret 2013.

Oz, The Great and Powerful adalah "a prequel to The Wonderful Wizard of Oz (1900) by L. Frank Baum, told from the point of view of the Wizard. It tells how the Wizard arrived in Oz and how he became the ruler." yang akan dibuat oleh sutradara Sam Raimi yang artinya ribut-ribut antara Danny Elfman dengan Sam Raimi di Spider-Man 2 sudah selesai dan Elfman mulai lagi membuat musik untuk film-film Raimi, yeah!

Danny Elfman Discusses Musical Approach New L.A. Cirque du Soleil Show

Situs Billboard.biz menurunkan artikel mengenai musik Danny Elfman untuk Iris, berikut kutipannya:

"It was all completely evolutionary as it came together," Elfman told Billboard.biz at the Kodak Theatre, where the show "Iris" opens in previews July 21. "In a weird way it was nothing like working on a film. It was closer to working with Twyla Tharp on the ballet."

Elements of the score heard Thursday in the rooftop scene were clearly inspired by film noir classics, Alfred Newman and "West Side Story," which Elfman acknowledged. Otherwise, he says, the music was designed to complement the ideas of writer-director Philippe Decouflé.

"There are two characters, so there are throughlines for them. Does it make logical sense like a script? Absolutely not. This is a surrealistic homage. You get a sense of characters moving through the story, but the story is very much a dream."

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Kodak Theatre Hosts Magnificent Media ‘Cirque’

FishbowlLA melaporkan review mereka terhadap Iris, berikut kutipannya:

The media got its first glimpse this morning of Iris, the new permanent Cirque du Soleil show set for previews at the Kodak Theatre in July and an official opening September 25th.

FishbowlLA has seen a few Cirque shows, and we can honestly say that there’s something extra special going on here, thanks to the subject matter of cinema, the heart-of-Hollywood show location, and the fact that the music is provided by none other than Tim Burton right-hand band Danny Elfman. The composer’s sensibilities are as perfect a match for a Cirque moviola as they are for the filmmaker’s phantasmagorical canvases.

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Rabu, Juni 15, 2011

Master film score composer, Danny Elfman, shares stories and speaks on his career and craft

Wawancara Mike Ragogna dengan Danny Elfman sekarang sudah dapat didengar audionya. Berikut kutipannya:

Oh, yeah, there are a lot. Right now, his talent makes me miserable because he is so good and even more prolific than me but I can't dislike him because A, he is a good guy and B, he is a great composer, and that is Alexandre Desplat. I think he is the motherf**ker on the street that has to be reckoned with for other composers right now in my mind. Not the most successful, but that doesn't define who the best is.

Dengarkan di sini. Transkripsinya dapat dibaca di sini (duluan transkripnya dari audionya..).

The Darkened Theater Composer Discusses His Transition Into Scoring Dramas Like 'Batman'

Buzzine mem-publish bagian kedua dari wawancara Danny Elfman di Grammy Museum, berikut kutipannya:

Each one of Tim’s films would open another door. Pee Wee opened a big door. After Beetlejuice, then, “Oh, he can do fantasy. Okay. Crazy fantasy.” After Batman, it’s like, “Oh, we can give him big films and darker films.” And afterEdward Scissorhands, it was like, “Oh, well he can do romantic.” So all the early Tim films, each one of them marked, equally, another door, because then I was trying to work in every genre. So I was really aggressively trying to always get out of every niche that I was in. I wanted to do romantic, I wanted to do ridiculous, I wanted to do dark… Bernard Hermann was able to do everything, and I wanted model myself after him. And Jerry Goldmsith can do everything, every genre. So, to me, these were the guys who I felt like, even if I could never approach their level of talent and musicianship, I wanted to try to go, if I could, for the level of versatility I found that they were showing.

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Selasa, Juni 14, 2011

A Career Retrospective at The Grammy Museum Opens Up the Elfman/Burton Music Box

Buzzine mem-publish wawancara dengan Danny Elfman, berikut kutipannya:

DE: Yeah, and I realized, when I was transcribing the Duke Ellington, I could hear anything I needed to hear. I could play a little bit of the record, stop it, freeze it, and get all the piano parts that he played. I could get it all down exactly. And I also learned, in those years, that I was able to hear parts that the musicians, who were all better than me, couldn’t hear, and I thought that was odd. He’d play a wrong harmonic conversion in a chord, and I said, “No, no, it’s like that, like I wrote it.” And he goes, “Oh, are you sure? I hear it the other way.” And I’d listen to it and go, “No, it’s definitely that.” And then he’d go, “Oh, okay.” So I learned to trust my ear, basically, in those years.

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