Sabtu, Desember 24, 2011

Scrooged liner notes

Jeff Bond membuat album/sleeve/liner notes untuk Scrooged, here are SOME quotes, edited:

Scrooged would pose a challenge that Elfman had not previously faced. Most of the composer's collaborators up to this point had been younger, more experimental filmmakers for whom Efman had been more or less a peer. Richard Donner was a long-established director, comfortable with studio politics and experienced at working with composers. His prior musical collaborators included Jerry Goldsmith (whose score for Donner’s The Omen on an Academy Award) and John Williams (Superman). Donner had considered approaching Williams for Scrooged and needed to be convinced to use the up-and-coming Elfman.

Elfman’s agent, Richard Kraft made a cassette tape of cues from Beetlejuice, Pee-Wee’s Big Adventure and even Elfman’s early Forbidden Zone music for Donner: “Richard Donner finally spoke to me about it and I had my day in court to explain why Danny was so great. I eventually got them together and he was sold.”

Finding the proper musical tone on Scrooged would have presented a challenge for even the most experienced composer. The main character had to be seen as heartless, cruel, miserly, tasteless—but redeemable and likable. Earlier takes on the Dickens story all trafficked in macabre visions of ghosts, poverty and heartlessness, but Scrooged employed state-of-the-art makeup and visual effects to convey its horrors, and Donner had to up the ante to convey the shock of Frank Cross’s ultimate redemption to contemporary audiences. But Scrooged was still a comedy, and holiday comedy at that—for all its dark visions of frozen bums, dusty corpses and a man being burned alive, the movie needed to make audiences laugh and ultimately feel good about themselves.

Elfman’s main title immediately impressed Richard Donner. “I remember being on the recording stage on the first cue and all of us looking at each other and thinking, ‘Oh my God, he hit it.’ It was like hearing John Williams doing Superman and Goldsmith doing The Omen. I’ve really been fortunate in the composers I’ve worked with. Danny had a great sense of humor, and he was brilliantly not full of himself when he very well could have been. He was extremely flexible and a delight to work with.”

Donner says that hearing a composer’s original music for the first time can be daunting. “I don’t impose myself on people except just to give my thoughts—I think Danny was quite honestly ahead of us most of the time. But you hear the score in your head and also you do a temp score of ‘what’s the kind of feeling we want and what are you going to do?” and one of the dangers is you fall in love with the temp score. When the composer comes in, it’s difficult because you have a preconceived notion of what the score will be. Sometimes you hear something from the composer that’s so different that you either jump for joy and say, “Why didn’t I think of that?” or you try to steer them back to what the temp score sounded like. If I did have moments like that he was extremely cooperative and creative, and if I didn’t, he was way ahead of us.”

Donner’s desire for a “non-comedy” score had been fulfilled. “When you listen to the music from Scrooged,” the director says, “it had incredible overtones and if you just said it was a comedy score, it would be a big mistake—it was a brilliant score and it fit each and every scene and the emotions you were trying to get across, but it wasn’t a comedy score. Comedy scores—especially today—are overly huge and they’re used to punch up a joke or a bad line, but if you really listen to that score, it’s much more than a comedy score. It hits the emotions of Bill Murray’s character. I think Danny is so incredibly versatile—he’s a bit of a genius and he’s obviously proved it over the years.”

There are so much more, baca langsung liner notes-nya ya dengan cara beli albumnya di sini.

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